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For Reference 

Do Not Take 

From the Library 

Every person who maliciously 
cuts, defaces, breaks or injures 
any book, map, chart, picture, 
engraving, statue, coin, model, 
apparatus, or other work of lit- 
erature, art, mechanics or ob- 
ject of curiosity, deposited in 
any public library, gallery, 
museum or collection is guilty 
of a misdemeanor. 

Penal Code of California 
1915, Section 623 


Take, Her Take 

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3 9042 03745590 1 


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2 1 1994 



dy Dye: 

Hooked on 
Hair Color 




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Fantastic plastic . . . and other wild III 

It may not play on Main Street, but the sort o\ 
an) thing-goes glamour that made its mark in 
designers' most recent collections is destined | 
change the course of fashion for seasons to cc 
The looks here take a playful, ultrasexy appro| 
to fall's influential ideas, including slick vinyl, 
teddy-bear-plush textures, and top-of-the-thigj 
tailoring. Pulled straight from the runways, 
complete with outrageous hats and hairstyles.l 
they're admittedly extreme, but watch out: Thl 
effect is sure to be felt in fashion at every level f 

What's sexy? Over the decades, women ar 
men have had lots of different ideas about wl| 
makes a woman sexy. Georgina Howell and 
Christopher Buckley address the eternal issi 
how to dress to undress 

Beauty & the beat Thanks to MTV's Howl 
Style, which celebrates its fifth anniversary th 
month, host Cindy Crawford is no longer a i 
supermodel. William Norwich charts 
Craw ford's evolution 

Colorful character I like to turn up the 
volume as loud as it can go." says Marc Jacor. 
who in a brilliant comeback collection uses 
shocking-bright splashes of color to give 
seventies-era elements including leopard spJ 
tailored pinstripes, leather jackets, and sequiil 
shine a brash, seductive, thoroughly modenf 
look. Photographed by Steven Meisel 

Shining through Further proof that fashion' 
spirits are lifting: Diamonds— once the mo- 
ot stones are showing off a less serious side, 
glittering across a whimsical array of pins and 
pendants. And the light touch is extending to 
other accessories as w ell, as high heels and 
handbags pick up the glint of glossy patent leat I 



42 Fashion front B) William Norw ich 

Vogue's View 
45 The new length I or those who'd like to leave the microminis to the 

models, a new knee length lor Tail is bunging hemlines back dovt n to earth 
48 Very fitting Getting a wedding dress readj to walk down the aisle 

requires patience, main hands and a long engagement. (Catherine 

Betts follows two brides in the process 
58 Cracking the dress code Dressing for dinner maj be over, but does 

thai mean anything goes? I ynn Yaeger challenges the notion of 

"appropriate dress" al a host of Manhattan hot spots 

62 Elements Iti^oi wit fhe Parisian design team of 31 Fevrier opens 

its bag of tricks to reveal whimsical creations that are right in sync 
w ith fall's bright. play ful mood 

109 Point of view 

110 Fashion on the move 
runway-onl) frolics this i 

wild variet) of textures, 
and shine. (Catherine Bei 

iea1 © ■ 
ookingtechni that sin 

■w moodol sssand fun 

Short & sweet Tw o shapes now turning up 
virtual!) everywhere for fall: the textured 
sweater cropped close to the body and the fhrt| 
A-line skirt -often brightened with a potent dd 

of color. Enhancing their inherent sex appeal here: ultimate sw eate 

girl Claudia Schiffer 

183 Talking fashion Hi. st> le: The recent fashion week in New York | 
provided a three-ring social circus ifit didn't, why bother in the fill 
place'.' . . . Plaids and stripes forever: Basic black makes way for the| 
latest geometric explosions 

194 In this issue 

196 Vogue's last look Sunglasses take a shine to fashion's favored siKer | 
metallics and get an update w ith softly tinted lenses of every shade 

COVER LOOK Isaac Mizrahi gives the short, sexy slip dress a 
playful twist with sherbet-colored plastic paillettes. Makeup goes 
the neutral route, on model Cindy Crawford, with Revlon's 
Custom Eyes Matte Shadow in Bali Brown, and ColorStay Lipcolor 
in Nude. Silk dress and down-filled silk jacket by Isaac Mizrahi. 
(For more on Crawford, see page 148.) Details, stores, see 
In This Issue. Hair, Garren of Garren, New York, at Henri Bendel; 
makeup, Francois Nars. Fashion Editor: Carlyne Cerf de Dudzeele. 
Photographer: Steven Meisel. 

VOGUE Jl.'l.Y 1994 

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Best of all. ..the natural tan 
color lasts lon ger than traditional 

Self-Action Tanning Spray in 
Medium and new Dark shades. 
The fast, easy way to tan. ..without 
the sun. 
Another first only from Estee Lauder. 
















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90 Health report By Isadore Rosenfeld. M.D. 

164 The wet workout As aqua aerobics becomes an increasingly cool 
way to exercise, webbed gloves, foam dumbbells, buoyancy belts. 
and other water-fitness gadgets are popping up in pools 
every w here. Toj s in tow . Deborah Pike takes the plunge 


Vogue Beauty 

95 Pony tales Riding high on fashion's runway sever since cropping 
up at the spring couture, the simple ponytail is once again making 
headlines for fall 

96 The cutting edge With a salon surfacing on every corner, putting 
your hair in good hands can seem like a hit-or-miss proposition. In 
a coast-to-coast quest for the best. Amy Astley and Wendy Schmid 
survey the hottest spots 

100 Beauty answers C jetting golden: This summer's new self-tanners make 
exposing even the most sun-shy skin a "bareable"— and safe— move 

1 02 Beauty clips By Wendy Schmid 

105 Beauty bets Foot notes: Summer's strappy high heels and bare 
thong sandals are putting feet on display-and making colorful 
poll-' le season's sexiest details 

1 30 Platinum hit With her white-blond hair and breathtaking, 

elongated proportions, model Nadja Auermann is the embodiment 
of the strong. sexv woman inspiring designers now. Katherine 
Belts tracks the influence of fashion's new face 

160 Face-lifts for the fainthearted 1 at injections, laser peels, and 
miniature scalpels promise quick and relatively easy fixes for 
wrinkles and sags Peter .laid reports on the techniques, the 

advantages, and the risks 

162 Confessions of a hair-color junkie With toxic fumes and 

industrial-strength chemicals long gone, the most daunting aspect of 
hair color now is deciding w hat image to convey. Elissa Schappell 
naturally brow n. formerly blond, and currently red charts her 
lifelong career as a w oman with a multiple-personality mane 


10,14 Masthead 

18 Contributors 

24 Talking back Letters from readers 



Up front PI-TAphilia: If P! I'A has its way, more than fur will 
soon be living. Sav g vool, silk, and leather, to meat. fish. 

and dairy even to biomedical esearch as we know it. Charles 
( iandee considers the extremi >i ho advocate rights for rats 

People are talking about / 
matchmaking . . . Mad billi< 

War. . . E-mail 

llgence . . and more. 

Vogue Arts 

65 Mnvii Knd justice for some: Vftei lohn 

els, Hollywood finally gjv« in fluff with 

The ( 'lit ni Join Powers finds more mean nd Mi I '/</<. 

exploring money and love in newly uniu and 
nd death in a fractured 1 A 

7 1 Theater Black-tie me up: In his new play. Paul Rudnick 

affectionately skewers both uptown hypocrisy and downtown 
pretension: benefits and bondage. Bob Morris watches as worlds 

74 Music Will you carry my guitar, please? The Breeders' Kim Deal 
has helped define the image of the guitar gal. selling a million 
copies of the zingv Last Splash w ithout selling sex. As the group 
embarks on this summer's Lollapalooza tour, she recounts some 
discordant notes from the road 

76 Music Classical illusions: She's young, she's controversial, and she 
doesn't know much about opera. But with her new production of 
Don Giovanni, Deborah Warner may give the stodgy 
Glyndebourne festival a new direction. Michael Kimmelman 
examines Warner's rise in scale 

78 Books Beached tales: This summer's best books tell stories 

ranging from a young cow boy's perilous journey in the last days 
of the Old West to a woman's erotic adventures in the South of 

84 Travel The Palace goes public: Unless y ou're a member of the 

British royal family or about to be knighted. Buckingham Palace is I 
open only two months of the year. And next to Streisand, it may be | 
the hottest ticket of the summer. Patrick Kinmonth takes the tour 
that allows anyone to be queen for a day 

88 Travel clips Hot trips: From Bora Bora to Zihuatanejo. Richard 
Alleman catches up w ith seven of the world's newest-and nicest 

1 34 What's sexy? Over the decades, women and men have had lots ol 
different— even antithetical ideas about what makes a woman 
sexy. Georgina Howell and Christopher Buckley look back at 
fashion's many efforts to entice and address the eternal issue of 
how to dress to undress 

140 Getting in on the action As classy roles grow scarcer each year, 
actors you wouldn't expect Meryl Streep. Jeff Bridges. Keanu 
Reeves— have made the leap into the sort of mindless adventure 
movies that were formerly the domain o\' Sly and Arnold. Scan 
Elder wonders if they "re upgrading the genre or simply 
dow ngrading their reputations 

144 First time on-line After months of ignoring the much-touted info 
superhighway. George Kalogerakis and Rachel I rquhart (a.k.a. 
GeorgeK690) finally realized they were about to be left in the 
technological dust and signed up for a ride. What they found could 
either forever alter life as we know it or prove to be the nineties 
version of CB radio 

148 Beauty & the beat Thanks to MTV's House oj Style, which 

celebrates its fifth anniversary this month. Cindy Craw ford is no 
longer a mere supermodel. As host of the show . she takes four 
million v iewers beyond the runway and behind the camera. 
William Norwich charts Craw ford's evolution from a pretty face 
into a sty le-sav v > reporter and commentator 

152 Serf determination Four of today's most controversial young 
artists happily put themselves in the hands and before the 
lens of photographer Annie Leibov it/ to ask w hat is art. 
what is self, and what is identity'' Dan Cameron searches for 

186 Horoscope By Athena Starwoman 

Vogue Style 
1 79 Blooms' day In their newest arrangements, the world's top floral 
designers are forgoing fantasy to concentrate on the essence of 
flowers. Hamish Bowles picks the cream of the crop 

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** « 


Editor in Chief 


Managing Editor LAI K IE JON ES Art Director RAUL MARTINEZ ( native Director ANDRE LEON TALLEY 

Features Editor Ml( HAEL BOODRO Associate Editor CHARLES GANDEE 

i uHve Fashion Editor PHYLLIS POSNICK Fashion Director, Accessories Shoes CANDY PRATTS PRICE 

Fashion News Director KATHERINF. BETTS Fashion Market DirectorSUSl BILLINGSLEY 

Fashion Editor at Large CARLYNE CERF de DUDZEELE 



Bookings Editor PRESTON WESTENBURG Fashion Features Editor KATHRYN KELLER Fashion Writer SALLY WADYKA 



Beauty and Health 


Beauty Writer WENDY SCHMID Health & Fitness Associate DEBORAH PIKE 

Beauty A ssistant ANNE WEINTRAUB 





Bookings Editor MAGGIE BUCKLEY 


Features Assistant SHAX RIEGLER 


Senior Associate Ar, Directors SHEILA JACK. ERIC PRYOR 

Features Photo Editor ESIN ILI GOKNAR 

Art Assistant JOHN LIN Assistant to the Art Director ANDREA VAN BEUREN 


Editorial/Art Production Manager PAUL KRAMER Associate DONNA SOLLECITO 

( opy Production C luel KAREN CHABRUNN THORNTON 



Reader Information SHIRLEY CONNELL 

Editorial Administrative Associate KRISTIN VAN OGTROP Assistant to the Managing Editor JENNIFER OWEN 

■ant to the Editor rnCfcfe/HELEN YTUARTE 

Paris Bureau C '/»<</ SUSAN TRAIN Paris Editor FIONA DaR I N 


II est Coast Editor LISA LOVE Associate CRYSTAL MOFFETT 

C onsulting Editor SHELLEY WANGER 



u Manager LINDA RK I issociate Business Manager CHRISTIANEC. MA< k 

and Communications PAUL WILMOT Assistant KATHRYN GRACE PHELAN 

Editorial Ao ism LEO l RMAN 

Editorial Din 





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SIMON & S ( H I S 1 I R 
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RON Ml) \.(.M OTTI 


NORMAN \\ Ml RM\N Issociate Publisher 


erlising Directw 1)1 Wl <>SH1\ 

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Fashion Director DONNA KORRI N European Fashion Director RENI I MOSKOWITZ 


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Copyv "'<' LYNETTE CALVERT Production Coordinator \\ II MN < I MMINGS 

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\ (Kit I ispublishedb) TheConde Nasi Publications Inc si Building 350 Madison \vcnuc. New > 

Chairman S.I. NEWHOUSE. JR 
Deputy Chairman Editorial \l I \ \NI)I R 1 I HI RM \N 

, . ■ si | \l N I I LORIO 
r,««JOHNB HRl NELLEJOSI I'll I I I ( lis PAME1 \M \ \n/\ndi 

R|< ( \NIM RSON 
„■. \NN| si 1HI Rl \N|)I 1 ( lis l\( Kkl IGER 
em Circulation PI M R \ \RMoi R 
dents Manufacturing and Distribution IRVING HI RSCHBI [N.KEV1NG HICKI ^ 
.hi Corporate Research ECK ART I Gl I"HI 
I ,-,, /'/, m/< m Creativt Ma '<»"• HI 1 I I 1 l>l I I 


Chairmai Kl KN \RO H I 1 SI R 

SI I tIPTIONINQI IRIES: Phase mite to VOGt E, Box 5S980. BooMer. CO 80322 or call (800) 234-2341 

• N, i 10017 




e heritage of 1776 lives on. Join Lana in celebrating her 1994 U.S. c zenship. Featuring the Constitution Collection for July Fourth. Red, white, 
and blue backpacks shown in alligator and ostrich. Hallmark Heritage belt buckles in sterling silver shown with alligator belts. Sixty colours 
alligator, ostrich and lizard. Available at SAKS FIFTH AVENUE and BERGDORF GOODMAN. Or call Lana of London toll-free, 1-800-305-5262. 





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amy astley 

Vogue's new beauty editor, Amy Astley, has always had blond 
hair, and she doesn't plan on changing it anytime soon. But for 
this issue she did a lot of thinking about that very subject, 
producing a feature about a hair-color junkie's exploits (see 
page 162) and a review of America's best hair salons (see 
page 96). A year ago Astley, 27, was up to her ears in fabric 
samples and scouting pictures, while writing and producing 
lifestyle stories at HG. Now she finds her office flooded once 
again, but this time with products that offer everything from 
whiter teeth to firmer thighs. Astley brings a fresh eye to 
Vogue's coverage of the vast beauty industry; during the past 
year she has written articles on everything from promise-the- 
moon skin-care products to the history of posture. And she has 
quickly discovered that there are a lot of similarities between 
her new beat and her old one: "Decorating, beauty, and 
fashion, too, are all statements about a person's style— the 
way they live, their point of view. A dash of graphic red lipstick 
or bold platinum hair can have as much visual impact— and 
importance— as a Mies van der Rohe chair." But Astley finds 
that people are much more likely to voice their opinions about 
personal appearance: "Appearance is really an obsession in 
contemporary culture. Everyone is always analyzing and 
passing judgment on the looks of others, whether it's Kate 
Moss's thinness or Hillary Clinton's hairdos." Astley and her 
husband, a photographer, live in a Greenwich Village 
apartment with a bathroom "so well stocked it may rival the 
cosmetics department at Bloomingdale's." 

John powers 

John Powers is not what you'd call an occasional moviegoer. In 

fact Powers, whose column debuts this month (see page 65), has 

been writing about film for the past twelve years as a critic, editor 

at large, and cultural columnist for LA. Weekly— which means 

he's spent a lot of time sitting in the dark. "The .iovies are a 

distillation of what's good, lousy, and thrillingiy unpredictable in 

modern life," he says. ". . . It's exciting writing about film because 

it is the great twentieth-century art form. You know people will 

respond because it's not a field left only to the experts— everyone 

has an opinion about it." A frequent commentator on movies and 

Amencc culture for the BBC, Powers is at work on a film about 

Osi ; lde's tour of America ("t beginning of celebrity 

cultur '"gland's Channel 4. H also written movie 

revi^v res for New York i ^e, Rolling Stone, 

Premiere, ant 'e and his wife, om he married 

during the 1992 l.#- ., live near the beat. anta Monica. 


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Christopher buckley 

"I like women with glasses and am stil 
infatuated with miniskirts," says 
Christopher Buckley, who set out to d< 
what men find sexy in women's fashiori 
this issue. "But this article, which fore 
me to contemplate the whole of twent 
century fashion, made me realize that 
was at stake than just gorgeous gams 
(Additional revelations appear on page J 
134.) Buckley is the editor of FY/, the 
supplement to Forbes magazine, 
celebrated for having perpetrated the I 
about Lenin's body being for sale that 
made the front page of The New York 7 
in 1991. Though FYI is based in New Yc 
Buckley still finds himself commuting 4 
Washington, D.C., where he lives with I 
wife, Lucy, their children, Caitlin and 
Conor, and a yellow Lab named Duck. I 
writes for The New York Times, The 
Washington Post, The Wall Street Jourr 
and The New Yorker and is also an 
occasional commentator for the Nation 
Public Radio show All Things Consldere 
The movie rights to his latest novel anc 
fifth book, Thank You for Smoking (Ran 
House), have just been sold to Mel Gibs 

candace bushnell 

Candace Bushnell, who started writing t 
People Are Talking About column last 
month, has unknowingly been preparing 
herself for the job since she was a kid in 
small Connecticut farm town. "My worst 
investigative experience probably occurn 
when I was eight years old," she says. "IV 
sister and I were hiding in the neighbor's 
bushes under their window, spying, and 
man came home early from work and 
caught us. We told him we were looking 
worms." Later, while attending New York 
University, Bushnell put her curiosity to 
work doing interviews for Night, a magazi 
that covered the Studio 54 scene. After 
graduating, she was a staff writer at Self, 
and now she is probably best known for h 
offbeat pieces on such topics as a new 
generation of gold diggers— women seeki 
rich boyfriends— (for Mademoiselle) and a 
group of young Park Avenue expatriates 
who have settled in Minnesota after doini 
time at the Hazelden clinic (for The New 
York Observer). Bushnell continues to wri 
for The Observer, but she is already feelin 
the effects of her new beat for Vogue: "Ev 
since I started doing the column, I find 
myself looking for weird connections and 
hidden meanings." 






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and sure enough 

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BUT WHEN YOU WERE FIVE or was it six or was it nine 

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and you are iree you are iree you are absolutely iree 







Biking back 

letters from readers 

Sexy j 

The Soft S>*,\ 

r ■nil <"hhl» ■ 

v una ures 

ll I 

E«crci»c - 1 i : ■ 

left to right: Jean Paul Gaultier's removable body art, photographed by Irving Penn; Steven Meisel's portraits of Bridget Hall 
and Beverly Peele with her daughter, Cairo; Herb Ritts's April cover 

The white stuff 

Many, many congratulations to photographer 
Steven Meisel and fashion editor Grace Cod- 
dington for the brilliant pictorial "The White Al- 
bum," in the April issue. Ivory and natural col- 
ors stripped down to bare essentials make 
everyone glad spring/summer is finally here. 
The biggest complaint I usually hear from 
women regarding springtime is that the Euro- 
pean designer collections are not realistic to 
wear on a daily basis. Call it the wearability fac- 
tor, but finally there is clothing for everyone, 
whether it's a long slip dress for evening or the 
essential spring pantsuit. 

Aaron Katalan-Peterson 
Midlothian, VA 

Quick-change artist 

Tremendous applause to Marina Rust for her ar- 
ticle "Secrets of Style" [Vogue's View]. Her inter- 
view-like format as well as a spectrum of fashion 
sources provide an incredibly alluring, opinionat- 
ed, quite Diana Vreeland-like entrance into the 
April issue. 

As a young person in the ever-evolving fashion 
world of today, it is often difficult to hold one's 
own. I thank Rust for providing some guidelines! 

Miranda Kobritz 
Los Angeles, CA 

When I read the comments regarding Stephanie 
Seymour's recent fashion flip-flop (trading jeans 
for cocktail attire) in "Secrets of Style," I had to 
chuckle. Seymour has deeper concerns in life, 
such as having two children by two mystery men 
and an upcoming lawsuit with ex-beau Axl Rose. 
With her varied lifestyle, an ungraceful change of 
fashion taste is the least of her worries. 

Nicole L. Nevel 
Butler, PA 


Although Charles Gandee's "Off the Street . . ." 
[April] was generally a very well researched arti- 
cle, I wanted to point out one minor musical fact. 
While there is a considerable amount of music 
and fashion overlapping in the alternative scene, 
Ministry is not, by any stretch ot the imagination, 
a gothic band. Call them noise, n li strial, aggro, 
proto-metal-but not gothic. 

Susan Peterson 
Albertson, NY 

Imagine my outrage to be flipping thro jgh "Off the 
Street . . ." ar 1 see in a caption my favorite heavy- 

metal band, Babes in Toyland, referred to as rap- 
pers/ Get your musical facts straight. 

Jamie Strege 
Fremont, CA 

Punishing workout 

I bought your April issue to read Kate Sekules's 
article "Exercise Excess" [Up Front]. It was well 
written, well researched, and, most important, in- 
sightful. I played into this dreadful, insidious phe- 
nomenon before there was a name for it, and I 
know I am not alone. I could easily relate to Mol- 
ly Fox, who, "after years of therapy and souteearch- 
ing to rid herself of a deeply ingrained punitive ap- 
proach [to exercise]," now teaches yoga and be- 
lieves in "total fitness, of mind, body, and sense 
of self." 

The denial is profound. I know because al- 
though I have a master's degree in holistic health, 
I still thought running miles and miles would take 
me closer to "heaven." The "bottom" of exercise 
bulimia is multidimensional, as is the recovery 
from bulimia. It takes addressing the whole per- 
son: body, mind, and spirit. It is possible, but it 
isn't easy. 

Thank you for publishing this story. It speaks 
of a higher consciousness that I am not used to 
in the general media. And I applaud all of those 
interviewed from the aerobics industry who spoke 
so vulnerably about their own experiences with 
exercise bulimia and what they did about it Maybe 
the "bottom" can be raised to a less painful place 
than that of the woman who was down to 75 
pounds, lost her teeth, and was still looking for 
yet another club to work out in. That moved me 
to tears; it could have been me. 

Karen A. Ferguson 
Los Altos, CA 

In "Exercise Excess" you mention that "the disor- 
der [exercise bulimia] is much higher among the 
instructor population . . . ." Thank you! How af- 
firming it was for me to read a theory I've privately 
held for a long time. I've been taking aerobics 
classes for years, all over the country. I have mem- 
ories of one instructor, with ribs protruding, say- 
ing she was getting on the bicycle for an hour— af- 
ter our hour-and-a-half class— because she ate 
ne chocolate pretzel the night before. Behind 
•r stood women struggling to get in shape or lose 
' after having had children, none of whom 
she seemed aware of as she stared disgustedly 
at her bonv midriff. I've seen too many newcom- 
ers cor rtto a class v. here they were ignored by 
the ins or, whofran-'callycontirued her work- 

out, seemingly unable to slow down to correct cl 
instruct the beginner. I recently walked out of [ 
class when yet another instructor came in ar 
told us to keep up or drop out Most of us eveH 
tually slowed down (the pace was frantic, not ael 
obic), but she never took her eyes off herself t| 
notice. When she yelled out that we should "ge 
mad at our bodies," I left I've spent 35 years lear 
ingto love this body; I wasn't there to punish it. 
is my sincere wish that the Aerobics and Fitnes 
Association of America and gyms around this cour 
try would weed out these instructors. They dis| 
courage many more women than they inspire. 

Leigh Strimbeclj 
Dalton, P/ 

Women who exercise excessively may lose theij 
periods or experience irregular ovulation, lutee 
phase defect (which can cause miscarriage), ancl 
infertility. These problems are often compouncj 
ed because many excessive exercisers practice 
a macrobiotic or vegan diet. 

Conversely, for women with endometriosis wht 
are not interested in immediate pregnancy, the ef I 
fects of such diets and significant exercise in ex j 
pediting estrogen metabolism can be very helpful [ 

Sharyn Thylar 

The Endometriosis Alliance oil 

Greater New York, Inc.j 

New York, 

The hole story 

I was very glad to see your April article on body pierc-l 
ing ["Body Language," by Katherine Betts]. I had! 
my navel pierced last year, and I am pleased to seel 
that this practice is finally being recognized as ac-l 
ceptable and not a twisted torture ritual. However, [ 
as someone who has been through the piercing! 
process and has many acquaintances with pierced f 
body parts, I want to clarify a couple of points. First I 
of all, the rings used in nose, navel, brow, and nip- 1 
pie piercing are not larger than those used in tra-J 
ditional ear piercing, unless the customer wants 
the holes specially enlarged. Also, the pain factor 
is practically negligible for navel and brow piercings; 
I have had ear piercings that hurt much more. Fi- 1 
nally, I think that your mention of a nine-montn heal- 
ing period is nowhere near realistic or average. My 
navel ring took only two months to heal; most pierc- 
ings take much less than nine months to heal. Body 
piercing is really not a big deal; it is reversible and 
relatively painless. 

Anne K. Bingham 

Cambridge, MA 






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Lost in America 

Yes, Tad, there is a bookstore in Las Vegas 
["The Big Gamble," by Tad Friend, Vogue Style, 
April]. Also art galleries, museums, libraries, 
ballet, symphony, theater, and, oh yes, a uni- 
versity, live jazz, et cetera. More important 
perhaps: The El Dorado High School Choir is 
busy raising funds to pay for its invitation-only 
trip to sing at the fiftieth anniversary of D day 
in Washington, D.C. A Rancho High School 
student, because of his intellect and track 
skills, has been awarded a full scholarship to 
Notre Dame. 

Icing on the desert-scenery cake. Sorry you 
missed it. 

Zane Courtney 
Las Vegas, NV 

Broadcast news 

To my dismay, a double standard appears to 
be alive and well on the pages of VOGUE. In 
his article "Eyewitness" [Vogue Arts, March], 
Alan Jolis makes continual (and, I feel, whol- 
ly irrelevant) observations about journalist 
Christiane Amanpour's personal appearance 
(e.g., "She looks more mousy than glamorous"; 
"I notice dark peach fuzz on her cheek. I'm 
staring at thick unplucked eyebrows"). I 
couldn't help thinking that if Ms. Amanpour 
were Mr. Amanpour, Jolis might have de- 
scribed his subject as being "introspective" 
and "sharp witted" instead of "pouty" and 
"quick to talk back." Given the author's ap- 
proach to his subject, it is somehow not sur- 
prising that, five paragraphs after mentioning 
"Dan Rather's blistering attack" accusing the 
news media of "[giving] the best slots to gos- 
sip and prurience," Jolis accuses Amanpour 
of "shouting like a prom queen denied the first 
dance" when she won't divulge the details of 
her personal life. 

As is the case with all journalists, Jolis is en- 
titled to his choice of word and content. I am not 
suggesting that he should have heaped Aman- 
pour with accolades while glossing over her pro- 
fessional weaknesses. But can he really find any 
journalistic justification for peppering his profile 
of his "hero" with lowbrow editorial comments 
on her personality and appearance? Christiane 
Amanpour's accomplishments speak for them- 
selves. The snide commentary should have been 
left to the tabloids. 

Janna Baty 
New Haven, CT 

While the word fan doesn't really describe me, 
I enjoy the work of CNN's Christiane Aman- 
pour and have since before the Persian Gulf 
crisis in 1990. Her attitude is right. A reporter's 
work shouldn't have to be enjoyed, nor should 
it gather enough attention to cast a spotlight 
on the reporter personally. But in a television 
environment where even the mighty CNN it- 
self is becoming fast-food news, this attention 
is justified. Amanpour is the exception rather 
than the rule. 

Watch her once in a while, introducing a piece 
live and then following it up. Usually she'll earn 
extra time after her follow-up for "color com- 
mentary" because she often has plenty of in- 
formation that couldn't be fit into the piece. She's 
like that. Others may simply be fact gatherers. 
' manpour is an observer. That's the difference, 
imes the exception should become the 
ce article! 

Christopher Meman 
Rese la, CA 


Fresh faces 

I just wanted to tell you that I really liked yd 
April cover. The glow in the picture seemed vd 
springlike. I'm glad you had Bridget Hall, Bra 
di, and Niki Taylor on the cover. Please sh<| 
them more often. 

Sandra Bye 

Separate but equal 

Finally, an article, "A View of the Womb" [| 
Steve Fishman, Health, April], in a popular hif 
fashion magazine that explains things the w| 
millions of us see them— through pro-life eye 
The reality of the very much alive child insu| 
the mother's womb speaks loud and clear. Til 
only way a fetus can "die" or "be killed" or eva 
be operated on as a "patient" is if the fetus hq 
a life, and indeed it does! The unborn with , 
of its organs in place— although maybe not I 
in perfect place-resides within its motherl 
body but certainly not as a part of its motherl 
body. "Blobs of tissue" or "products of co{ 
ception" do not have hearts, kidneys, lungj 
brains, or separate blood supplies. Nor can ar 
thing except a human receive a blood transfl 
sion or a pacemaker, as some of these fetu | 
es have. I commend any woman who would i 
through fetal surgery for the sake of her unborl 
child, and I applaud the doctors who intervenl 
for the health of a "distressed fetus." In thl 
midst of the destruction of human life througj 
elective surgical abortions, the switch to req 
cuing human life is welcome and long overdue 
Diane Marie RegaJ 
Dartmouth, Nova ScotiJ, 

The way of all flesh 

As I paged through the fashion layout entitle^ 
"Nude Study: The Shapes that Make the See 
son" [photographed by Steven Klein, March], I 
expected to see fabrics in a range of beautifu I 
natural skin tones. Instead, the text refers to th(| 
pale, peachy-colored clothing on the six pages| 
as "nude" and "flesh tone," as if that one hud 
is all-encompassing. For most of the world these| 
terms do not conform to this narrow-mindec 
view. Matte flesh tones come in many shades.] 

T. Fendersor 
Stratham, Nr 

Your idea of nude (as illustrated, for example, ir 
"Nude Study: The Shapes that Make the Season" 
and in the fine print of April's "Sheer & Shine," 
photographed by Herb Ritts) unfortunately dc 
not encompass everyone. What is nude for Cmdyl 
Crawford is not nude for Naomi Campbell, andl 
what is nude for Naomi is not nude for Jennyl 
Shimizu. Please understand that there is no one[ 
definition of "flesh tone." (There are at least 351 
shades of black skin.) It depends on the individ-l 
ual. The only real examples of "flesh tone" you J 
showcased in "Clear Footing" [photographed by I 
Cindy Palmano, March] were the see-through plas- 1 
tic shoes— they are true to the wearer. 

Pamela Pyles I 
Chicopee, MA 

VOGUE welcomes letters from its readers. Ad- 
dress all correspondence to Letters, VOGUE 
Magazine, 350 Madison Avenue, New York, 
NY 10017. VOGUE also accepts letters via 
the Internet. Address electronic mail to 
Ybguemail@aol.rom. Please include a day- 
time telepnone numbt Letters may be edited 
for length or clarity. 





F W!s 

„« naked than wear fur. 
I'd rather go na*ea 

-Christy Turlington 

3 TOP 

center, I 
all for a 
billboard; i 
left PETAi 
members tl 
make their | 
with stick 
and stenc 

PETA In Vogue: Kate Plerson 
(standing, center) of the 
B-52's and other antlfur activists 
storm Vogue's New York offices, 
September 30, 1993. 


n the August 9, 1991 


If PETA has its way, more than 
fur will soon be flying. Say goodbye 
edition of to wool, silk, and leather, to meat, fish, 



The Des Moines Register, People anc j dairy— even to biomedical research as 

tor the Ethical Treatment of Am- "* , 

mais (peta) ran a ii.ii-page ad that we know it. Charles Gandee considers 

capital on » worthiness of ^ extremjsts who advocate r jg hts for rats 

self-confessed cannibal serial killer Jef- 
frey Dahmer. the 3 1-year-old Milwaukee man who had been arrest- 
ed eighteen days earlier after police found the butchered bodies of 
seventeen teenage boys and young men in his apartment. The ad, for 
which not-for-profit PETA paid $1 1,200, read, "Milwaukee . . . July 
1 99 1 ... They were drugged and dragged across the room . . . Their 
legs and feet were bound together . . . Their struggles and cries went 
unanswered . . . Then they were slaughtered and their heads sawn 
olT . . . Their body parts were refrigerated to be eaten later . . . Their 
bones were discarded with the trash." And then, in big bold type, the 
punch line proclaimed. '"It's Still Going On." 

Although the ostensible purpose of PETA's sensationalists ad w as 
to sell vegetarianism to the meat-eating Midwest ("If this leaves a bad 
taste m your mouth, become a vegetarian"), mere diet somehow came 
across as secondary to PETA's point, which was neatly summed up in 
the line "Nonviolence can begin at breakfast, with what you eat." In 
other words, it seemed reasonable to infer, if Jeffrey Dahmer had not 
grown up eating bacon and eggs for breakfast, seventeen dead and dis- 
membered Milwaukee boys would be alive and intact today. To sledge- 
hammer this nefarious notion home, the ad noted that researchers had 
found a "link between childhood animal abuse and multiple acts ol'\ i- 
olence toward human beings." Implicit in this provocative reference is 
the assumption that a child who eats meal is no less guilty of animal 
abuse than a child who douses a li\ e rabbit with gasoline before strik- 
ing a purloined kitchen match w ith a big. anticipatory smile. 

The vertiginous leap from cluklh >d meat eater to cannibal serial 
killer begs a number of questions the most obvious of which is w In all 
those other hacon-and-egg-cating children didn't grow up to be canni- 
bal serial killers. In the world according to PFTA. howe\ er. such ques- 
tions come across as somehow niggling. I 'f re looking for logic, 
you're missing the point. Dramatic impact is x>int And dramatic 
impact has been a PETA specialty since its incej l 

Back in the earh eighties, for example, when th imal rights or- 
ganization w as m its infancy. PETA cofounder and cu t national di- 
rector Ingrid New kirk coined what became known as Auschwitz 

Calvin the Cruel? In a 
January 25, 1994, 
attack on Calvin Klein's 
headquarters, above, 
PETA members block the 
reception area and spray 


beneath the designer's 
name; PETA's 
antlfur sticker. 

Analogy: "Six million people died in concen- 
tration camps, but six billion broiler chickens 
will die this year in slaughterhouses." When 
questioned by Tlw H 'ashington Post about the 
wisdom of summoning up the Holocaust. 
Newkirk. who grew up in a convent school in 
New Delhi, where her mother worked for 

Mother Teresa, said, "It's very bad to be afraid of that comparison 

Slaughterhouses are Auschwitzes for animals. Fur farms are Buchen- 
w aids for animals. Remember that situation and be upset that six bil- 
lion individuals are going through those things today, onh it's called 
fried chicken." If you walk Newkirk's line of reasoning a few irresistible 
steps forward, what this means, of course, is that Frank Perdue and 
Colonel Sanders are the Adolf Hitler and Joseph Goebbels of our time. 

An empathetic appreciation of the Auschwitz Analogy is necessary 
for a full understanding of PETA and its mission, which has never been 
more succinctly summed up than in another of New kirk's sound-bite- 
ready lines: "When it comes to feelings like pain, hunger, and thirst, a 
rat is a pig is a dog is a bo\ ." 

For most of us. a rat is not a pig. a pig is not a dog. and a dog is 
not a boy. For most of us. in fact, there is a critical moral distinction 
to be made between rats and boys, just as there is a critical moral dis- 
tinction to be made between Jews and broiler chickens. Although 
Newkirk might attribute such distinctions to what she might dub 
Homo sapiens supremacy, it is worth noting that with the exception 
of a 60-cent bumper sticker that reads RATS n wi rich is. PETA has 
recently dimmed the lights on main of its more, shall we say. chal- 
lenging \ ievt s Auschwitz Analog) included. Coincidentally. PETA 
has also recen \ enjoyed such a remarkable ascendance in social 
standing that u now appears to have replaced both AIDS and home- 
lessness as the cause celebre du jour. 

In PETA's 5/ >ng "94 Catalog for Cruelty-Fret Living, there are eigh- 
teen message T-i its a\ ailable for S 1 5 each. Although you can order 
T-shirts that read meat stinks and meat IS mi ri R.moretyp- ►30 


©I9f» Great Brand-, of Europe, Inc. 


Kttia UP- 

ical of the softer spin is the T-shirt model Naomi 
Campbell wears on the cover, which reads peta 


and the T-shirt Paul and Linda McCartney mod- 
el on the inside, which reads stop eating ani- 
mals on the front and GO VEGGlt on the back. 
(The McCartneys* commitment to the cause is 
absolute: Witness the couples practice of buying 
up live lobsters from London restaurants and re- 
turning them to the sea.) Most representative of 
all. however, are the T-shirts that feature loving 
depictions of dogs and cows and cats and pen- 
guins and carry such sweet sentiments as iespect 


Along what appear to be the same low-key, 
don't-scare-the-horses lines, it seems worth not- 
ing. PETA does not require the high-profile sol- 
diers who enlist in its army to embrace more 
than a plank or two of the organization's plat- 
form. For example, model Christy Turling- 
ton, who posed naked for a traffic-stopping 
Sunset Boulevard billboard that read I'D 


that before volunteering her time, face, and 
body, she let PETA know that her "statement 
was only for fin and cruelty toward animals.'" 
and that she is l> 'th a leather wearer and an un- 
repentant meal eater. Good enough for PETA, 
reports Turlington: '"They didn't have a prob- 
lem with that." Nor did PETA have a problem 
with model Tatjana Patitz. who posed for an- 
other ad in the same campaign, despite Patitz's 
passion for swimming with dolphins, a practice 
PETA unequivocally condemns. 

PETA's remarkable tolerance of its spokes- 
models' wayward w ays may be explained by 
the fact that if absolute adherence to the or- 
ganization's tenets were a requirement, not only would the crowd- 
and media-pleasing Campbell, Turlington, and Patit/ have to be 
ousted, but so. one suspects, would a fair number of PETA's 400.000 
dues-paying members. Because it's one thing to sa\ "I'd rather go 
naked than wear fur." quite another thing to say "I'd rather go naked 
than wear wool. silk. down, or leather." Similarly, it's one thing to 
say "I'd rather go hungry than eat meat." quite another thing to say 
"I'd rather go hungry than eat fish, poultry, dairy, eggs, clams, or 
hone) [all animal products are banned in PETA's preferred vegan 
diet]." And most dramatically, while it's one thing to say "I'd rather 
go without than wear mascara, rouge, lipstick, or nail polish that 
has been tested on animals." it's quite another thing to saj "I'd 
rather die than avail myself of an) medical procedure, drug, or treat- 
ment that has been developed through animal research, experi- 
mentation, or testing." 

Such extreme mandates form i bundation on which the house 
of PETA is built. And while they may be ignored, they may not be 
publich dallied with, as actor Christopher Reeve learned when he ad- 
dressed an animal rights rally on June 10. ' 990, in Washington. DC, 
and suggested that the use of "sonic" an in certain biomedical 

research "such as AI DS" might not be sue ' thing. Reeve was 

booed off the stage. 

If the morally indignant intolerance that \c conjures 

up \ isions of a kind of holier-than-thou self-righte< it's no sur- 

prise. (Tellingly. Alex Paeheeo. w ho cofounded PET h New kii 


Milwaukee... July 1991... 

They were drugged and dragged 
across the room... 

Their legs and feet were 
bound together. . . 

Their struggles and cries 
went unanswered... 

Then they were slaughtered and 
their heads sawn off... 

Their body parts were refrigerated 
to be eaten later... 

Their bones were discarded 
with the trash. 

It's Still Going On 

Love your vermin: A 60-cent bumper sticker, 
top, available through the PETA catalog; 

center: A 1991 ad in The Des Moines 

Register likens the crimes of serial killer 

Jeffrey Dahmer to the "crimes" of 

nonvegetarians; above: PETA activists sprawl 

on the streets of Paris in paint-splattered 

fur coats and steel-jaw traps. 

in 1980 and who is now the organization's pre 
ident, studied for the Catholic priesthood bi 
fore converting full-time to animal activism a 
ter he failed to persuade the brothers in his Ohi 
seminary to convert to vegetarianism.) Althoug 
PETA has yet to reach the terrorist extremes ( 
some of the more rabid antiabortionists, the oi 
ganization is hardly averse to pro-life-styl 
demonstrations, such as the one it staged ; 
front of C\ bill Shepherd's house in the San Fei 
nando Valley to protest the actress's endorse 
ment of L'Oreal's Preference hair color. PET/ 
was under the impression, which turned out t< 
be false, that L'Oreal tests its products on ani 
mals— thus the throng of 50 who carried signs 
shouted insults, and chained themselves to Shep 
herd's gate while she and her five-year-old twin 
cowered inside. Among that group was San 
Gilbert, Darlene on Roseanne. (To ensure 
publicity for a demonstration or an event 
PETA, whenever possible, likes to field i 
celebrity or two— Kim Basinger and the 
B-52's singer Kate Pierson are current fa- 
vorites.) Curiously enough. Gilbert didn't 
see fit to protest publicly when Roseanne 
Barr/Arnold showed up in I unity Fair 
wearing a white fox stole in one picture 
and a white full-length mink in another. 
For most of us, of course, the ex- 
tremes of PETA's founders— Newkirk, accord- 
ing to Tlie Washington Post, doesn't step on ants- 
are if not altogether intolerable at least very se- 
riously inconvenient. Which may explain w h) 
little is heard about so much of what PETA 
stands for and why so much is heard about a rel- 
atively minor item on the PETA agenda: fur. 

Among the victories PETA claims for itself 
is the 25 percent drop in U.S. fur sales between 
1989 and 1992. The sales figures. PETA claims, prove that hurling 
public admonishments and storming the offices of fur designers and 
magazines (this one included) that feature or advertise furs are ef- 
fective tools of persuasion. Perhaps. But then how to explain that in 
the same three-year period. U.S. sales of Mercedes-Benzes dropped 
1 6 percent. Jaguars 54 percent, and Porsches 56 percent? As the 
world knows, the recessionary period between 1 989 and 1 992 w as a 
very tough time for traditional symbols of unabashed wealth. Nowhere 
was this more emphatically registered than in fashion, where the cha- 
cha-cha extremes of the eighties gave way to the penitent shrouds of 
the early nineties. Now that the economy is on the upswing, howev- 
er, our "politically correct" guilt seems to be waning. Which explains 
the 1 percent increase in fur sales in 1 992 and the additional 9 per- 
cent increase in 1993. 

As for why so many lined up so quickly behind PETA's antifur cam- 
paign, perhaps it is because in the hierarchy of personal sacrifice, not 
wearing a mink coat ranks right down there at the bottom alongside 
not wearing a diamond tiara. 

For anyone w ith anything fur in the back of his or her closet. New kirk 
ad\ ises handing it over to PETA so that PETA might use it for future 
antifur demonstrations. And as for anyone w ho still owns anything 
made of leather anything at all PETA advises handing it over to the 
homeless. The suggestion is noteworthy because it is that most rare of 
all PETA phenomena, an instance when the interests of people are ac- 
tualh acknow le Iged if only as a token afterthought. • 

l IV 1994 


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R A 


L A U R E 

FAL<_ 1 


A call to Hollywood might 
fix Clinton's Asia woes. 

are talki 

By Candace Bushnell 

Phone call of the month 

Although President Clinton has been accused 
of being too Hollywood, when it comes to Asian rela- 
tions, he hasn't been Hollywood enough. To wit: While 
Secretary of State Warren Christopher left China un- 
able to sway them on human rights abuses, Hollywood 
studios have been economically befuddling their Japan- 
ese owners. And when Singapore gave eighteen-year-old 
alleged car defacer Michael Fay four cane whacks (de- 
spite Clinton's plea for clemency), it was Hollywood that 
stepped up to the plate, bidding for the TV rights to Fay's 
story; the resulting docudrama is liable to embarrass Sin- 
gaporeans more than any foreign policy could. So what 
does show business have that Washington doesn't? CAA 
mega-agent Michael Ovitz. Ovitz is a known devotee of 
General Sun Tzu's The Art of War, a 2,500-year-old text on 
Chinese military strategy that is required reading for Asian 
military and business leaders— and everyone in Ovitz's 
Hollywood. Given the potential for future problems in 
the Far East— i.e., North Korea going nuclear— we called 
the president to suggest he either a) hire Ovitz or b) read The 
Art of War. While the White House couldn't say whether Clin- 
ton has read the snarky tome ("The only way to know is to ask 
the president himself), perhaps it doesn't really matter: Ex- 
perts believe that all North Korea really wants from its new ar- 
senal is recognition from America. If D.C. can't give it to them, 
why not a TV miniseries? 

Electronic heart: 
L-O-V-E-mail delivers. 

Shrinking Freild Is the insurance industry trying to kill 
Freud? Judging from the health-care-reform plan, 
with its proposed cutbacks in psycho- 
analysis and other forms of mental 
health care, shrinks could become 
a luxury of the past. But there 
are still a few places neurotic 
Americans can turn to for 
aid— like gooey self-help 
books, as typified by the 
best-selling HarperCollins- 
published Men Are from 
Mars and Women Are 
from Venus ("When men 
and women are able to re 
spect and accept their differ- 
ences, then love has a chance to 
blossom"). A recent review of psy- 
chotherapy co-written by UCLA psy- 
chology professor Andrew Christensen found 
that some patients did just as well with a self-help ■» Sigmund moribund? 
book, a self-help group, or even a self-help program "administered" by a computer as with a 
traditional therapisl Meanwhile, trying to make the field a more quantifiable science, Detroit- 
area psychiatn - I . Kemal Goknar has devel* >ped a computer-based questionnaire that as- 
signs numeric: lues to pain and dysfunct lal behavior in order to statistically measure a 
patient's statu ( shrinks are abolished alt ther, troubled patients will have to resort to go- 
ing to their vc inarians: Manhattan vets I /e recently been prescribing Valium and Prozac 
to addled dog> and cats. Can obedience scl 

E-mail: modern-day Puck? 

Is E-mail the great matchmaker or a sly 
mischiefmaker? Stories about people who found 
their true love via E-mail are rampant. "The first 
time people are introduced to E-mail, the 
reaction is often sexual," says Avodah Offlt, a 
psychiatrist/novelist. Releasing latent desires to 
millions can be a healing experience, but it can 
also have unexpected results. "Some people 
become addicted to responding to the next 
emotional incident. It's like masturbation," says 
Off it, who was herself an E-mail addict until she 
used "the opportunity to have multiple 
personalities" on E-mail as inspiration for her 
novel Virtual Love. Off it's not the only one 
who has experienced weird 

Shakespearean love twists via a 
computer network. A New York 
woman who pretended to be the 
perfect man discovered that 
'he" was a little too perfect 
when another on-line woman 
fell madly in love with the 
imaginary swain— who was 
then forced to go on an 
imaginary extended business 
trip to escape her advances. 
But all too often interactions 
depressingly imitate real life, 
not art. When a Philadelphia 
female computer user was 
discovered posing as a man, she was 
threatened with actual rape. 

>ol for humans be far behind? 




What does beautiful skin thrive on? 
Before you answer, take a deep breath 





I It rushes energy and radiance to your complexion. It makes your skin 
feel firmer. More supple. It smooths out fine lines. Unfortunately after 
the tender age of 20, our skin's oxygen content begins to diminish. 
After 30, up to 25% is lost and by 40, as much as 50% is gone. ■ 




Deople are talking about 

Mad Billionaires' Disease Howard Hughes and Henry Ford most likely suffered from it. 
Michael Milken, Leona Helmsley, and Ross Perot probably have it, and Bill Gates could be getting it. When 
billionaires engage in what appears to be odd, self-aggrandizing behavior— running for office (Perot), build- 
ing maximum-security homes with underground passageways (Gates), or spearheading gigantic, absurd sci- 
ence projects (Texas oilman Edward Bass and his Biosphere 2)— there's a good chance they've become af- 
flicted with MBD, a mental disorder that tends to strike the overly wealthy, often without warning. The re- 
sult: The person thinks he or she can do anything— or nothing, in the case of Leona and her taxes. Consider 
the classic example, Henry Ford, who "believed he could solve World War I by sailing across the Atlantic 
and talking to the kaiser," according to Abraham Zaleznik, a psychoanalyst and professor emeritus at Har- 
vard. Money can make people crazy, but "not all billionaires go bonkers," reassures Zaleznik. Indeed, wild- 
eyed billionaires on the edge (like Edgar Bronfman. Jr., who is eye- 
ing Time Warner, or Blockbuster Video's H. Wayne Huizenga) can 
take a tip from Hungarian George Soros, who has earmarked $ 1 bil- 
lion for nonprofit institutions in Eastern Bloc and African countries. 
His deep philanthropic interest, says Zaleznik, "'suggests he has an 
underlying humility that can counteract narcissism." We hope. 

Vice redllX Clean living is already on its 
way out. Recent polls show that more Amer- 
icans are smoking and fewer are dieting, but 
an even more reliable barometer is the be- 
havior of our favorite role models (a.k.a. 
celebrities): On a syndicated radio show. Don 
Johnson not only was inebriated but threat- 
ened bodily harm to his hosts; Madonna 
smoked a cigar and used four-letter words on 
Letterman: Willie Nelson was arrested for 
possession of marijuana after police found 
him sleeping in his car; and TV actor Howard 
Rollins was caught, as the Grateful Dead has 
sung, "driving that train [in his case, that car] 
high on cocaine." In response there have been 
calls for moderation instead of denial: Rolling 
Stone suggested a gentle legalization of drugs, like 
putting small amounts of cocaine in chewing gum. 
(Had Rollins chewed gum instead of snorting, it is 
conceivable that he might have ended up with a very 
sore jaw instead of a six-month jail term.) And ( on- 
.s7/m«/(Simon & Schuster), by Michelle Stacey, puts 
our food obsession in perspective by taking read- 
ers "on a revealing journey through the landscape 
of American food paranoia 

Welcome to 
the uberburbs 

Those looking to escape 
the woes of suburbia— e.g., 
mall-rat masses, mlnlvans, and 
people who wear white shoes 
after Labor Day— could move to what 
we're calling the uberburbs. Experts 
say these enclosed supersuburban 
developments— with swimming pools, golf 
courses, and security guards, often 
located in pastoral settings— are the next 
generation of American suburbs. But are 
they as Innocent as they seem? Critics 
have called them retreats from 
democracy; in fact, they seem likely 
breeding grounds for the kind of Stepford- 
wife mentality that drove the suburban 
den mother In John Waters's Serial Mom 
to psychoklll her neighbors. After all, 
ubervllle denizens are usually told what 
color they can paint their houses, what 
they can grow in their garder . and who 
can live in their homes— me nlng spying 
on the neighbors is not onl> »d, it's 

as important as proper recyc 




Fear not— indulgence is back! 
counseling us to "resolve to live in harmony 
with our food rather than to struggle against it" and adopt a philosophy she 
calls Enlightened Hedonism. In other words, tune in, turn on. pig out. 

Doing the government's dirty work Our government's 

new motto seems to be it's a dirty job— and someone else has to 
do it. Until recently, privatization— when private companies take over 
institutions and services formerly provided by the state— had been lim- 
ited mostly to jobs that literally make you want to wash your hands, 
like garbage collection, wastewater treatment, and solid-waste dis- 
posal. But now the hand-washing is even more vigorous: Already pri- 
vatized, or future possibilities, are prisons, hospitals, homeless shel- 
ters, the Federal Aviation Administration, and even some fire de- 
partments. In most cases, privatization gets the job done more cheaply 
and efficiently. But lu ' it go? Recent suggestions include the postal service, juries, and tax col- 

lection. And Hartford. C o ut. is considering turning over its entire school system to a company 

called Educational Alternate t a move that could prove the most controversial and divisive. Though 

the proposal is causing firewoi ie powerful teachers" union. Hillary Rodham Clinton recenth chose 

to v isit a school run by EAI for . . public photo op. apparently endorsing the concept* 



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Fashion finder 

During New York fashion week, the 

new top-of-the-llne Sharp VIEWCAM VL-H400U was a 

must-have accessory for such trendy types as Kelly 

Klein, above. Users can see everything they record on a 

four-inch full-color liquid-crystal display screen with 

on-the-spot playbacks and audio. And a strobe adds 

drama to the viewed proceedings. 




William Norwich 

talk, trends, 
and tips 

The recent fashion week of 
shows in New York City offered 

something for everyone. Most injm ~-^^^F^^V 
amusing on the trend front --+r3P7$ 

was the news that hair is the latest storage space. 
Shown here it holds a simple couple of calla lilies 
(1). but what about the photographer who stashed 
a copy of Time in the rubber 
band that held his ponytail 
together? . . . Bill Blass, seen 
here with Naomi Campbell (2), enjoyed 
a coup with his critics this season. Of coJ 
he was Bill Blass cool the whole time, 
espousing notions of the new glamour and 
offering Jari-li-bo, a nonalcoholic, high-carb 

energy-replenishing soft drink, to his friends and fans 

Richard Tyler has enjoyed successes with both Anne Klein and his 
signature line. Now Tyler plans to launch his first menswear 
collection this fall — Alternative fashion triumphed also, especially 
the labels Dom Casual and X-Girl, which pitted downtown 
shows against the big retail extravaganzas under the tents 
at Bryant Park. "The tents are dictatorial," declared Dom 
Casual's co-designer Walter Cessna, and "downtown is 
ready to showcase its vision again." . . . People are still 
talking about Robert Altman s coming fashion film, 
Pret-a-Porter. The million-dollar question in the music 
business is, Who will get to do the score? . . . Dead camp, isn't it? 
This Bulgari-inspired watch (3). about $100, is available from the gift 
shop at Waddesdon House, a Rothschild-family 

country estate outside London And since 

camp and summer go together, consider these 
customized platform Chanel boots (4) concocted 
by clubgoer and model Karliin Mann. 

emerge ^y cooling units 

Here's the idea: Lessen the bark of th .-^ys of summer Just by knowing you are In 

possession of at least one piece of clothln, lis cool. Some suggestions? Itsy-bitsy. 

relatively affordable fashion bytes su >>, above, left to right a short-sleeved 

apple-appliqued T-shirt by Helen Storey and h . n orange silk charmeuse; a canary 

yellow La Quinta slip dress; an out-of-the-po bikini by Sondra D. Definitely; 

Kate Jones's fuzzy sweater for a stay In the shade ices Colon's Wearable Energy 

A-llne mini; and why not a designer-wa le carrier, right, from Chanel? 


Crocodile tears 

Isn't that what devotees of 
the original Lacoste tennis 
shirt shed when it became 
an endangered species? 
Well, the real French-made 
cotton-pique-knit polo shirt- 
designed in the 1920s by 
tennis star Rene Lacoste. 
above, who was nicknamed the 

Crocodile after a bet won 
him a crocodile-skin suitcase- 
is back, and just 
in time for summer. 


% # 


* « 



» ^H^H 

IB » 

K~ ■ 


I . 


is« £ ;ji cc 

\ (X, 1 E II 1 V I I 

Editor: Katherine Betts 

Calvin V 

' Calvin Klein 

the new 


For those who'd like 
to leave the microminis to 
the models, a new knee length 
for fall is bringing hemlines 
back down to earth 

The good news: It's not too long, it's not too short. As 
Marc Jacobs says, "It's chic." Austrian designer Hel- 
mut Lang first presented the knee-length look for 
spring with a black satin bias-cut dress that ran off the 
runway and onto the street. Now several American 
designers have tapped into the trend, giving every- 
J thing from kilts to knife-pleated dresses to slim stretch 
' flannel skirts new sophistication with hemlines that 
hover at the knee. Calvin Klein showed them exclu- 
sively-both on softly tailored suits and Empire-waist 
dresses. Isaac Mizrahi calls the new length the Cat on 
a Hot Tin Roof look. Jacobs's take on it has a mid-sev- 
enties slan I )onna Karan took the seventies tie-in one 
step fur r, showing to-the-knee skirts on models of 
that e ike Patti Hansen and Dayle Haddon.« 





creaks and loos 

Some things have been drive is the Civic Coupe. which is highly resistant 

built to withstand the test of For starters, both drivers usual twisting, bending) 

time. Unfortunately, though, and front passengers airbags flexing. They gave it an 

your body isn't one of them, are standard.* That way you long wheelbase. One oi 

But take heart. Because 
while your knees may creak 
and your joints mi ) pc >j he 
car you drive does not nc 
to fall victim to the effects 01 
aging. That is, if the car you 

can sit back and enjoy all the 
work that went into this car. 
You see, the engineers at 
Honda wanted the Ci ic to 
last a good long time. S > they 
constructed a very rigic body, 

emJAmcnanHwAMomCiU-x KX nmldshnur •SupplenwwJ Restraint SyaemtSRS I Vw M bete pnnidcprim.yproox-Km.w) should be «»n« alamo. 

longest in its class. It make 
a smoother, more stable ri 
This will lead to fewer rat 
squeaks and other disturb 
noises youYe probably co 
to expect or accept from I 

lave more rattles, 
rews than it will 

tomobiles.The double 
tbone suspension system 
i greater travel distance, 
^ery bump and dip in the 

different speeds, for different the convenient rear seatback. 
durations, in response to the The dashboard is made with 
demands of the road. So you Q a thick, molded material that 
get a highly efficient car. But W helps keep the noise outside, 
one that won't let you down Gauges and controls are big, 
when you need power. easy to see, and in exactly the 

While we're on the topic 
of efficiency, just take a look 
at the sleek, graceful, stylish 
exterior of the Civic Coupe. 
That's years of research and 
design experience you have 
here. Along with a little help 
from the wind tunnel. What 
this means is less drag. Less 
resistance. Less noise inside. 

Of course, if you prefer 
to make some noise, there's 

« right places. Power mirrors, 
door locks and windows 
react to the touch of a button. 
The upholstery fabric is very 
durable and of the best 
quality. Something you 
may not appreciate for many 
years down the road. 

On the other hand, 

lumbar support in the 

driver's seat is a feature you'll 

enjoy immediately. Cruise 

is much less noticeable. 
3ur engineers gave the 
c EX an advanced, long- 
ig VTEC engine with 
ible valve timing and lift. 
: valves open and close a T 

a High-Power stereo cassette control and the ease of power 

with six speakers that is also steering will also add to your 

equipped for a CD changer, enjoyment. Assuming you're 

It will make you sing. someone who chooses to be 

In fact, you could say the as comfortable and relaxed as 

same thing about the entire possible when you drive. But 

Civic interior. There's a lot of please remember you should 

room in here. For your legs, always wear your seat belt, 

your elbows, and your head. After all, we want you to 

Even more when you open last a long time, too. 
the power moonroof which 
has a handy tilt fe iture. Or^ 
when you fold c Avn 

^ ACarAhead 



very fitting 

Getting a wedding dress 

ready to walk down 

the aisle requires patience, 

many hands — and 

a long engagement. 

Katherine Betts follows 

two brides in the process 

Hmmm. This is a very difficult dress to fit," clucks Vera Wang, shaking her 
head and rushing around the third-floor fitting area across the street from 
her Bridal House on New York City's Madison Avenue. "Everyone has 
a different-length torso." She pauses for a split second, puffs up the silk organza 
skirt, tugs on a cuff of the dress, then whizzes toward the door, adding over her 
shoulder, "This dress really should have been made only in couture." 

These are words a bridal designer probably shouldn't utter at the first 
fitting, even when the wedding is still three months away. But a fierce mid- 
February snowstorm has thrown Wang a tiny bit off course today as she 
fits one of her famous illusion-backed wedding dresses on a young client. 
Lynne Bigler, a PR coordinator at Tiffany's. Bigler picked the dress— a 
nearly bare-backed number— for its slightly risque cut. "You gotta have a I 
little sexiness." says the porcelain-pretty bride-to-be, who met her Wall Street 
trader fiance. Tom Mercein. in an open-air market in Hong Kong five years 
ago. She landed at Wang's salon al <potting the dress at a special presen- 
tation back in September. 

"Frankly. I never imagined wt ihing like this." Bigler says with 

a laugh, anticipating the looks of sui , ri 250 guests' faces as she walks 

down the aisle at the First Presbyterian C si Hampton, New York. 

"I never thought I'd wear this sheer stuff. 1 g ^ined something ir ivory, 

a little more romantic. But I love that it's so s There are no beads. ►SO 

Perfect fit After 
buying three dre 
and still not knowing 
what to wear for 
her own wedding, 
designer Vera Wang 
above (right), openc 
her bridal boutique 
on Madison Avenue.| 
For her first fitting, 
bride-to-be Lynne 
Bigler, above (left), 
slipped into her she 
near left, and left 
the rest to Wang an{ 
her team of expert 
stylists, BELOW. 


Special effec 
Bigler's ready- 
dress, left, 
a specialty 
of Vera 

Wang's Bridal 
calls for a 
boned corset 
and petticoat, 


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no frills, no poufs, and no cliches." 

Once upon a time beads, frills, poufs, 
and cliches were de rigueur for brides. The 
royals still take the cake in that depart- 
ment: Who can forget Princess Diana's 
25-foot-long train? Or, more recently, 
Masako Owada's 30-pound bridal ki- 
mono for her marriage last year to Crown 
Prince Naruhito? But for most of the 
population the bridal trend 
seems to be toward simplicity 
and practicality: Just think of Ju- 
lia Roberts and her plain slip by 
Comme des Garcons. Even Vic- 
toire de Castellane, Chanel's flam- 
boyant accessories designer, opt- 
ed for a beaded number that de- 
constructed into three different 
outfits as the night wore on. 

"Wedding dresses have tradi- 
tionally been about layering on as 
much stuff as you can. I would say 
the right word is overwrought," ex- 
plains Wang, who has been trying to 
reverse that trend ever since she 
opened up shop nearly four years 
ago. "It's very challenging because 
fewer and few :r clients really want that 
fantasy mode. As newer fabrics like 
crepe and illusion are introduced to the 
bridal-dress market, women are going 
for a simplified, yet still dramatic look. 
They want to look beauti- 
ful, but they don't want to 
look fussy." 

Wang is not the first to 
move away from the over- 
wrought. At the turn of the 
century dressing for your 
wedding meant buying a 
new evening gown in your 
favorite color. In the thir- 
ties the color of choice was 
black, a tradition Yves 
Saint Laurent alluded to in 
1 98 1 when he sent his cou- 
ture bride down the runway in near 
black aubergine tulle (more recent- 
ly, she marched out in red). 

"I feel like there arc a million dif- 
ferent kinds of brides," Wang says 
and sighs, "but I'd rather notice the 
woman first than all that stuff. Mak- 
ing minimal look interesting is a 
real challenge." Wang does a pret- 
ty good job. dressing 2,000 brides 
a year in ready-to-wear dresses that 
range in price from 52,000 to 
S4.500 and. like Bigler*s. are or- 
dered in the closest approximate 
size and then fitted precisely in 
the alterations department. 
Wang's couture dresses— cus- 


Brides made: When Laetitia 
Guest, right, asked couturier 
Hubert de Glvenchy, near right, 
to sketch four variations 
of the wedding dress from his 
1994 spring couture collection, 
one, top, came to life for Guest's 
wedding. The muslin tolle. above, 
was fitted, taken apart, and 
used as a custom-made pattern 
for the champagne-colored 
organza gown. Glvenchy and 
Catherine Delondre, the 
premiere d'ateller flou, far right, 
fit the actual gown. 

tom-made to the client's measurements 

are more limited because they can cost i 

to S 1 8,000 depending on the fabric 

(Wang's illusion fabric, if beaded, rings i 

at $1,000 a yard). 

Minimal or not, a wedding dress rd 
mains one of the few opportunities moi 
young women have to wear somethinl 
made specially for them. Laetitia Guest, | 
Paris-based expatriate with a soft souther 
accent, always hoped she would get maj 
ried in a couture dress from Paris but wasnl 
sure which style or couture house to choosJ 
"At first I wanted to get married in red,| 
says Guest, who got engaged last Decembe 
to Marks & Spencer exec Laurie Opper 
heim. "A couture dress is so expensive, yo| 
figure you might as well get it in a color you' 
wear more than once. But ml 
mother said absolutely not, si 
I had to start all over again. ] 
Starting all over agail 
meant going to the Paris coif 
ture shows last January t| 
shop the runways— an indul 
gence few women can afforc 
as the price of a French coi 
ture wedding dress can ruj 
up into the six digits (thel 
start at about S 1 8,000 an] 
can cost as much al 
$170,000, depending of 
how much embroidery | 

Price hasn't deterred thl 
production of couture wecl 
ding gowns, though. Chri{ 
tian Lacroix, whose wee 
ding dresses constitute 6| 
percent of his couture bus] 
ness, averages 20 a year. , 
Dior. Gianfranco Ferrj 
makes at least 6 weddinj 
dresses a season, whil 
Givenchy averages 6 pel 
year. In addition to thf 
fabrics and the embroi 
dery, clients are paying 
for hours of workmanship 
which vary from house t< 
house. At Givenchy a dresl 
takes between 100 and 12(j 
hours. Lacroix's more elabc 
rate and detailed styles can re 
quire between 250 and 30^ 
hours of hand sewing. 

"Lacroix is too expensive 

Valentino lives in Rome, scl 

you have to go there for the fitting." says Guestl 

explaining the process of elimination she wenl 

through in choosing a couturier. "I went for an apl 

pointment at Ungaro and I tried on the weddinjl 

outfit from the show— pants and a beaded ►sj 

\ OGUE JULY 199 1 

To top off 
confection of a 
dress, Guest 
wore a family- 
diamond tiara to 
anchor the tulle 
veil, which was 
fitted by Glvenchy 
himself, left. 



: zM 



to the worn 




Bebe Collection Wool Crepe Kilt Dress, $148, over Bebe Supplex Tee Shirt, $44. 
For the store location nearest you, dial 800-808-BEBE 

GUE Jl'LY 1994 




Talking Style With VOGUE, 












Talking Style With VOGUE 

members receive advance notice 
of exclusive vogue events. 

Just send your name, address and 
daytime phone number to: 

vogue marketing departmen 
350 Madison Ave., 12th Floor 
New York, NY 10017 

Just because 
a dress is coi 
doesn't mean 
ifs perfect froi 
the start; by 
the third fitting 
Guest still 
didn't feel her 
dress was right 


tunic. It was a real statement. But then I realized, I'm getting married in the Fren^ 
countryside, and sequins and beads are a little much.'' 

As a compromise, Guest reserved the "'statement" look (a loud polka-dot-and-strir. 
Ungaro suit) for her civil ceremony and chose a gown by Hubert de Givenchy (an old fa 
ily friend) for the actual wedding, at her aunt's sixteenth-century chateau outside of Pa 
Givenchy sketched four renditions of the champagne organza wedding dress from 1 
spring/summer 1994 couture collection-the only differences being the neckline (ruffle 
scooped, plunging, or lined in flowers of the same fabric) and the waistline (Empire 
belted). Guest knew she wanted an Empire waistline and felt that "the organza flowe 
around the scooped neckline seemed like the appropriate amount of decoration." 

The next step was to get measured by Mme. 
Catherine Delondre, a 32-year veteran of the 
Givenchy haute couture house and the premiere 
d'atelierflou, or head of the fluid-fabric atelier (as 
opposed to the one which tailors suits). Mme. 
Catherine (all premieres are referred to as madame 
and their first name) actually takes half-measure- 
ments of the body instead of wrapping the measur- 
ing tape all the way around. This enables her to stuff 
the Stockman, a dress dummy, until it exactly mim- 
ics the client's size. Once the Stockman is made, the 
toile, or muslin, can be cut and fit on it. which saves 
the client a lot of time rolling around on cutting ta- 
bles up in Givenchy's third-floor atelier. 

French couture can get really complicated (the 
details and the finicky process are what ultimately 
make it so French). Compared with ready-to-wear 
bridal fittings, couture fittings are more frequent 
and more detailed. The first involves fitting the toile. a muslin pattern that looks almo 
exactly like the dress (little handstitched flowers and all), except it's really a dress i 
hearsal. According to Mme. Catherine, in future fittings, every time she makes an i 
justment on the dress the entire toile has to be taken apart and adjusted, too. This is doi 
with the help of little red threads called doit file which are loosely sewn into the toile ; 
the dress. They keep everything in perspective, in much the same way a site line on 
construction job does, helping Givenchy and his premiere build the dress. 

But the first fitting of the dress feels more like going to a doctor's office than goii 
to a construction site: Seamstresses pad around in white coats (as does Monsieur), whi 
paper is laid out on the floor of the ornate salon so as not to soil the hem of the precio 
organza, and the future bride undresses and puts on the toile. which vaguely resembl 
a see-through paper robe. The only thing missing is an examining table although pie 
ty of examining takes place in the multitude of mirrors positioned strategically aroui 
the huge salon. Fittings are not just about the couturier fawning over the client. Seve 
al other players- haute couture minions hover at all times, ready to offer their uns 
licked opinion on the most minor details. 

At the second fitting the actual dress's fit is finalized. In Guest s case that means fla 
tcning out the front of the Empire waistline, streamlining the bodice of the dr, 
shortening the sleeves. "Hubert and Mme. Catherine felt that you couldn't really st 
enough of my figure." she recalls. "It isn't exactly flattering on an Empire waist to ha^ 
the front poufing out." Just because a dress is couture doesn't mean it's perfect fro 
the start: by the third fitting Guest still didn't feel her dress was right. So she had Mm 
Catherine add another layer of organ/a ( "it was too transparent" ). loosen up the sean 
around the back and under the arms ("I couldn't move" ). and shrink the shoulder pa< 
("they were horrible; you could see them through the sleeves!" ). 

A mere week before her wedding (five months alter she picked out the dress). Gue 
went back to Givenchy for her fourth and final fitting, where her mother. Givenchy. ar 
Mme. Catherine reviewed the dress and. more important, the placement of her veil ar 
headpiece a diamond tiara that has been in her family for three generations. 

Ultimately the two processes ready-to-wear and couture involve not only a diffc 
ence in price but also in time and patience. Where Guest happily endured four fitting 
Bigler felt that her three at Vera Wang were more than enough. "The only thing that r 

\ changed between the second and third fittings was that I'd lost some weight." sh 

■ To be honest. I didn't think the third fitting was necessary." Unless, of cours 

real dress rehearsal* VOGUE'S VIEW ►! 

VOGUI 111 

Having a 

Don't blame 
your hair. 

pat's the surprising 
pit that causes those 
rating Bad Hair Days? 
onically it's the same 
.lucts you use to make 

hair beautiful! 
lost conditioners, hot 
treatments, styling 
lucts, even ordinary 
mpoos can leave 
rid residue that coats 

hair shaft, weighing 
■ r n its body. And 
ig the glow of even 
jally shiny hair. 

your hair is flat and 

anageable, even after 
been washed, you 
!v you have a problem 


But what seems like 
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cracking the dress code 

Dressing for dinner may be over, but does that 

mean anything goes? Lynn Yaeger challenges the notion 

of "appropriate dress" at a host of Manhattan hot spots 

When a certain impish, white-haired British fashion designer, 
dressed in a cerulean silk sari over waffle-cotton long Johns, 
found himself persona non grata at the Plaza Hotel's Oak 
Room last winter, it made some in the New York fashion world wonder: 
Do restaurant dress codes still exist? Are there still places you can visit 
oddly dressed, half-dressed, dressed in deconstructed rags or transparent 
togas, and receive not just a raised eyebrow but a frosty refusal of service? 
Beyond the predictable rules some establishments still enforce— NO jeans, 
jacket and tie required, even the nineties-specific no rollerblades— 
lies the shadowy miasma known as appropriate dress. Restaurateurs are 
deliberately vague, but apparently they know it when they don't see it, re- 
serving the right to usher barbarians uitside the gates. 

I asked Brian McNally. hip restaui . \traordinaire (currendy en- 
sconced at 44 in the Royalton Hotel | ight the dress-code concept 

was still valid, and his respond 

ing! The more variety, the better! 1 i 

dead!" But stories of humiliating expem. 

bars still circulate: One fellow I know remi. 

a hideous green polyester jacket, generously & 

over his $600 Missoni sweater (at the bar in the 

other received a Siberian table to conceal a vintage 

al: it's finished! It's bor- 

Se dress-code gestapo is 


\ required to don 



iit (the Rus - 

ian Tea Room); and I my- 
self withstood a welter of 
withering glances at the Cafe Carlyle— 
the other patrons apparendy less charmed than I v 
by my lacy white Victorian nightdress. 

Dazed and confused by the contradictory evidei 
(are dress codes still taken seriously? or has McNally's New Jerusalerr 
dress really dawned?), I decided to corral some acquaintances into jc 
ing me on a number of experiments around town. I acted as the conU 
dressed almost always in black velvet leggings and a black cashmere 
nic; the friends wore the inappropriate getups. Our aim was not jusl 
look funny in fancy places— but also to look numbingly ordinary amc 
the terminally hip at late-night dens of iniquity. 

Our first foray is to Jackie 60, a club/performance space in Manl 
tan's meat-packing district I take Mark C. and Eric K., who have been 
structed to unearth their plainest, most prosaic shirts and trousers; I 
tempt to risk opprobrium in a pleated skirt, a cardigan, and a schoolj 
parka. The door person is wearing a cerise fake-fur chubby, white spi 
heeled boots, and some sort of feathered headdress. She has a face lik 
ghost's and is mean to us, but not necessarily due to our dowdy outfit 
she's pretty mean to everybody. It's poetry night (lucky us), and the ■ 
thusiastic crowd is clad in a wide range of bohemian staples: berets, Jc 
Lennon caps, dark granny glasses, old leather jackets. Though the dr 
code posted at the door includes no fur coats, no suits and ties, 
droopy drag, a number of men are wearing bedraggled gowns, inch 
ing a bevy of frowsy flappers who look disconcertingly like Dorothy Prov 
in T)\e Roaring Twenties. After about an hour, a man in a tuxedo 




enters, accompanied by an exquisitely coiffed woman wearing Chanel ear- 
rings and a very soft, very expensive leather jacket. She looks uncannily 
like a young version of the real Jackie and draws stares of disapproval (and 
a dismissive "Get her') from the assembled masses. 

A few nights later, I decide to test the sartorial waters uptown with 
Jacqui H. I make her wear a minuscule miniskirt, a transparent black chif- 
fon blouse over a highly visible black Dior brassiere, and a tiny Moschino 
leather motorcycle jacket. Though men on the street follow us whistling 
and proffering invitations, no one at the King Cole Bar in the St. Regis 
Hotel (where management describes the dress code as "smart casual") 
seems all that interested in us. We're both seated on the inside of the ban- 
quette, but Jacqui remains extremely visi- 
ble from the waist up. The place is filled with 
soberly dressed men and women wearing 
the discreet dark-colored suits they put on 
at 7:00 a.m., only by now a lot of the women 
have discarded their blouses and are dis- 
playing under tightly buttoned jackets either 
(a) some sort of lacy camisole or (b) bare 
flesh. A lively pick-up scene is taking place 
at the blouse-free table next to us. but Jacqui, 
while drawing stares, apparently looks too 
dirty and dangerous to entice the business- 
men gathered there. 

We decide to stroll over to the Rainbow 
Room, still considered a bastion of elegance 
in these tattered times (though the bar's dress 

code is minim ai: no jeans, denims, or sneakers; jackets required for men). 
The patrons in the famous sixty-fifth-floor watering hole are divided into two 
fashion camps: tourists in polyester separates and the requisite business-suit- 
ed men accompanied by women without their shirts on. Jacqui and I get a 
coveted table by the window. People are glancing in our direction, but are 
they interested in us or our neighbor? At the very next table, a fellow with eye 
makeup is wearing a pair of Zouave-style harem pants and a tuxedo jacket 
made from what looks like vintage bathrobe fabric. The people who work 
here are being incredibly pleasant to everyone. Actually, the staff look better 
than any of the patrons: They're wearing jaunty "Last Call for Philip Mor- 
ris"-type uniforms with little caps and braid-trimmed jackets. 

Two days later I phone the Supper Club, a cavernous midtown Man- 
hattan venue that specializes in big-band music until Saturday at 1 1 :00 
P.M., when it metamorphoses Cinderella-like into Love Sexy, a raucous, 
upscale dance club. "Do you have any kind of dress code?" I ask. "No." 
"None at all?" "Well, this is a nightclub. As long as you don*t come in 
sneakers and jeans " 

When we arrive there's a big line out front. A poncho-clad guy is ad- 
mitting a few special people— either he knows them or they're on the guest 
list. Either way, they're not appreciably better dressed than the waiting 
throng. I'm with my friend David W., who looks as much like a hip-hop- 
per (voluminous khakis, oversize parka) as a guy who needs reading glass- 
es can look. Mr. Poncho takes one look at us and snarls. "Get on line": its 
freezing out, so I flash a press pass and we go right in. Inside, all we see are 
jeans: maybe not with sneakers, but with platforms, Doc Martens, stilet- 
tos, pole-climbing boots, et cetera. The place is craw ling with young, prov 
perous Europeans who seem to just lo\ e the atmosphere of laser lights, soul- 
destroying 1 970s music, and hypo active smoke machines. There are a cou- 
ple of people with plaid flannel shirts t ied grunge-style around their waists, 
but the majority of derrieres are dad in denim or leather trousers. It may 
be a nightclub, as the man on the phone said, but the only person wearing 
an evening gown is IK* roving photographer flogging while-you-wait sou- 
venir photos to couples rest ing between furious bouts o r disco dancing. No 
one here seems to care what we wear or who we are. As we exit, we notice 
that the line has vanished. Poncho has let everyone in. 

Exhausted, but still detei ' to get a rise out of th< i ided New York 

People are glancing in 
our direction, but are they 

interested in us or our 
neighbor, a fellow with eye 

makeup wearing 

harem pants and a tuxedo 

jacket made from vintage 

bathrobe fabric? 

restaurant world. I induce Sally O., a 30-something English professor | 
join me for Monday luncheon at the '2 1" Club. I force her to put on leaf 
chaps with very prominent silver industrial zippers from ankle to inner t 
and a tight leather vest with no shirt underneath so that everyone can • 
the dramatic tattoo encircling her upper arm. The maitre d' clearly ha j 
us but seats us anyway; though it's fairly dark, plenty of people are looki| 
in our^direction. A man dining alone at the next table strikes up a lively c 
versation with us (too lively for the wait staff, who shower us with with] 
ing looks throughout lunch). The fellow next door can't get enough of j 
"What's that design? A chain? How much did it run you? A couple of hu 
dred dollars? I think it's great. Please yourself! Since I was a kid I've alw;| 

pleased myself." I make Sally walk alo| 
through the restaurant to the ladies' re 
amid a chorus of murmurs and snickers, 
the powder room, a patron gathers the nei 
to ask. "Is it difficult to get back into all tin 
things you're wearing'?'" 

It's a stormy day outside, and as wel 
leaving, the men's room attendant, wl 
has been chatting up the coat checkej 
takes one look at Sally and falls in lo\ 
Who's to say only bad things happen wh| 
you dress inappropriately? The attenda 
invites us to view the murals on the 
in the men's room, a place where few lac 
have trod before. The art turns out to 1 
sort of Work Projects Administration i 
LSD. with the subject matter featuring top-hatted men and saucy ladi| 
relieving themselves in receptacles such as goldfish bowls. Sally anc 
thank our new best friend, then dive out the door. 

The next day I call Ken Aretsky. majordomo at "2 1 ,' and ask him ab 
the history of dress codes there. "Katharine Hepburn was the first w omJ 
to wear trousers in the Club, around 40 years ago," he relates. "Now \| 
see everything." (Is he thinking of Sally?) "If a man needs a tie. we give 1 
to him. Jacket too." Any outfit you still wouldn't serve? "Well, maytxl 
T-shirt and dungarees ... but I can't remember it happening." What i!| 
were Jack Nicholson in the T-shirt? "No. We're democratic that way. 
It seems like democracy is prevailing all over town (granted New Yol 
isn't the most sartorially conservative of cities, anyw ay). Our experime J 
is almost over, and about all we've learned is that in Manhattan a won 
can go out dressed in practically anything, or practically nothing, and i 
ceive a reasonably cordial reception, a table, her meal. and. at won| 
maybe some too-curious glances from hostile strangers. Still, I have 
compelling desire to try just one last time. In a final, desperate attempt t 
offend. I make a reservation for lunch at Mortimer's, the infamously clu| 
by, insular Upper East Side eatery frequented by ladies who lunch. I brir 
Nancy M .. an artist with a crewcut. who wears Sally's chaps with a Mat 
Brando undershirt, a creepy-looking spiked leather belt, and a black j 
lice officer's cap with a patent leather bill. The folks at Mortimer's ad 
ally seem happy to see us— the place is only half full, and we're given a rel 
sonably situated table -not primo perhaps, but not certifiably Siberia el 
ther. Some patrons are whispering and discreetly pointing, but even, thirl 
is fairly calm until we notice the kitchen staff— they're lined up at the ei[ 
trance of the kitchen and their mouths are hanging open in astonishmerl 
Our waiter doesn't mind us. though; he brings us our crabmeat salad an| 
Eggs Mortimer as if we're Anne Bass and Blaine Trump. Five blond, su 
glasses-wearing Italian women come in. dripping Kelly bags and Pra 
totes and eleat v in no mood to tolerate Nancy at the next table. They t 
and stare. ga\ md cluck, but hey. this is Lexington Avenue, not the Vil 
Montenapolei .\ Our waiter likes us. the social X rays at the window ll 
bles are too bu lir-kissing to pay attention to less famous patrons. an| 
Mr. Bernbaum. z imperious owner, is casting a cold eye on everyor 
in the place. If lu noticed us at all. he doesn't show it. • 


VOG - l')''l 


It's hard to put your finger on 
How she manages to make 

mething happen wherever she goes. 
Rumor has it, 
it's alt done with the 





Today's modern collection of subtle 

yet sumptuous color 

with the talent to bring eyes to life. 

And keep them lively day into night. 


by Maybelline® 

Editor: Candy Pratts Pri< 


Designers Marc Gourmelen and 
Helene Nepomiatzi, above, pulling 
their sequlned and 
furry shopping 
carts. Details, 
see In This Issue. 


bits of wit 

The Parisian design team 31 Fevrier opens its 
bag of tricks to reveal whimsical creations that 
are right in sync with fall's bright, playful mood 

When we want something we can't have, we turn it into a new collec- 
tion," says 3 1 Fevrier's Marc Gourmelen, who with partner Helene 
Nepomiatzi creates inventive, sometimes surreal, handbags much in 
the manner of a modern-day Schiaparelli. What sorts of desires could they possi- 
bly transfer onto handbags? For their fall collection, it's pets. "We really wanted a 
dog," explains Gourmelen, "but we don't have enough space and there are already 
too many dogs in Paris." There weren't, however, many dog-inspired handbags 
until 3 1 Fevrier created them. Take the Sharpei, for example: a wrinkly gray fake- 
fur pouch that bears an uncanny resemblance to its namesake. But the offbeat 
purses don't stop with pooches. There are fish-shaped sequined clutches, feath- 
er-covered bags, and shopping carts done in kitten-like fuzz. Their label— 3 1 
Fevrier— also represents something they would like to wish into existence: 
"Adding days to the calendar is sort of a magical thing," says Gourmelen. 
Gourmelen, a former saxophone player, and Nepomiatzi, who trained 
at Paris's Studio Bercot school of fashion design, teamed up for their first 
collection seven years ago and last year opened their own store on Paris's 
rue du Pelican. "We wanted to see who was actually buying our bags," 
says Gourmelen. Their answer: The customers range from the young and 
hip to older, more conservative types. "It seems that the very fashionable women 
buy really classic bags, and the very classic women buy really fashionable ones.' 
observes Gourmelen. "The customers are always surprising us." 

Likewise, they are continually surprising their customers, who, on these 
shores, flock to stores such as Galeries Lafayette and Takashimaya to snatch 
up 3 1 Fevrier's uncommon creations. What wish will the two bag next? 
According to Gourmelen. he and Nepomiatzi have an unfulfilled urge 
to hitchhike to St.-Tropez— so expect an upcoming collection that in- ** 
eludes bags covered in numbers reminiscent of kilometer markers and ffA 
ones made of reflective, mirror-like material. Each season the pair pro- f 
duce 40 new styles— just a fraction of the hundreds they think up. 4 < 

"We have too many ideas," laments 1K g- \ 

Gourmelen. "We must try to re- 
duce our imaginations." Their 
customers, of course, hope that I i v Y 
they never do.-SALLY wadn k \ 


From 31 Fevrier's Our Friends the 
collection for fall, an assortment c 
anlmaMnsplred creations, Includlr 
clockwise from top left, feathered ! 
backpacks with dog-leash-llke cla 
and the Sharpei bag of wrinkled h 

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VOG IE .11 LV 



...and justice 
for some 

After two botches of John Grisham's 

novels, Hollywood finally gives him 

the right fluff withThe Client 

ohn Powers finds more meaning in 

White and Mi VidaLoca, 
exploring money and love in 
newly united Europe, and 
poverty and death in a 
fractured L.A. 

gal eagle: Brad Renfro 
ires lawyer Susan Sarandon 
to defend him. and she 
battles politico Tommy Lei 
ones, below, in The Client. 


John Grisham is the poet laureate of the 
airport bookstall; his novels are meant 
to be gobbled like peanuts at 35,000 
feet. Although you can't take him seriously 
las a writer of fiction, he has the one indis- 
1 pensable gift of the born trashmeister— his books whoosh 
■ by like a shot. Such single-minded energy has made his 
work irresistible to Hollywood, yet it's precisely this qual- 
ity that was sorely missing from the screen adaptations of 
The Firm and The Pelican Brief, Byzantine star vehicles 
that tried to inflate dumb, lively conspiracy yarns into 
moody, deep-dish panoramas of American corruption. 
Long and ponderous, they were enough to give entertain- 
' ment a bad name. Happily, its good name is restored by 
The Client, whose director, Joel Schumacher, doesn't kid 
himself that Grisham's novel has anything to say. Content 
to give his audience the excitement of an efficient, glossy 
thriller-which is, after all, one of the great pleasures of 
I moviegoing— he's made the most enjoyable Hollywood 
picture since The Fugitive. 

Eleven-year-old Brad Renfro plays Mark Sway, a feisty 
'trailer-park kid from Memphis who witnesses the suicide 
Fof a Mafia lawyer and instantly finds the whole adult world 
staring down at him. Smirking cops try to scare him into 
|; telling what he knows. Bad-shave mobsters threaten to kill 
I ;him if he does. And a PR-addicted federal prosecutor, "Rev- 
erend" Roy Foltrigg (Tommy Lee Jones), is hell-bent on 
getting the truth, whatever the risks to the kid— he's plan- 
ning to run for governor. In desperation, Mark hires a small- 
time lawyer, Reggie Love (Susan Sarandon), a frazzled di- 
vorcee who's getting her life together after a battle with sub- 
stance abuse. Soon the two are playing hide-and-seek with 
jhis many pursuers and learning to trust each other: Mark 
•becomes the surrogate for the kids Reggie lost in the di- 
vorce, while she becomes a maternal figure far stronger 
than his Valium-addled mother (played by Mary-Louise 
Parker with a bad case of the white-trash I \ itches). 

Schumacher has always been a direc' to show off his 
| performers, though in early movies like i. Elmo s Fire and 



and Angel Aviles are two gang girls 
Vnders's Mi Vida Loca. 

Flatliners his stars 
didn't always repay 
his generosity. Here, 
the whole movie is 
riding on blond, 
round-faced Brad 

Renfro, who effortlessly does what many of 
the Brat Packers never could— makes us care 
whether he lives or dies. While his unaffect- 
ed performance gives the plot its urgency, the 
most enjoyable moments feature the cat-and- 
mouse byplay between Sarandon and Jones, 
veteran scene-stealing actors seemingly made 
for each other: Her happy, bulging eyes are 
the perfect riposte to his sorrowful, sunken 
ones. Sarandon has long been one of Holly- 
wood's best comediennes, able to win a laugh 
with the feline spin Reggie can put on a word 
like semiprecious. But as she's grown older, 
she's also grown better; her once gawky beau- 
ty has softened at the edges and become stur- 
dier, more willing to let itself seem aggrieved 
or even blowsy. Just as her mature feminini- 
ty in Thelma & Louise kept Geena Davis's girlish zaniness 
grounded, so her ragged, maternal warmth invests Reggie's 
relationship to Mark with a tugging poignancy the script 
doesn't really earn. 

Although there's always been a dark, brooding side to 
Schumacher's work (his last film, Falling Down, was about 
white middle-class rage), he hasn't yet mastered the Hitch- 
cockian art of giving delirious melodramatic material a chill- 
ing psychological resonance. But he has developed an un- 
expectedly sophisticated knack for building suspense with- 
out working the audience over with cheap, bloody ^68 

White wedding: 
Julie Delpy 
and Zbignlew 
Zamachowski are 
a mismatched 
husband and wife, 
above, in White, 
the second film 
In Krzysztof 
Kieslowski's Three 
Colors trilogy. 





the only thing . 
that should be : 




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shocks. The movie is filled with well-orchestrated chase scenes, spooky 
moments of menace (including one sinister trip into the woods), and 
some offbeat glimpses of the southern setting. Schumacher knows that 
a good, junky thriller must be propelled by a gleeful sense of malevo- 
lence. No one does this any better than Jones, whose fussy drawl, peb- 
bled complexion, and jagged teeth -he grins like a delighted barracu- 
da-have made him the movies' most consistently enjoyable bad guy. 
Jones has built a career out of playing characters smoldering with ag- 
gravated impatience (think of that "I don't care" in Vie Fugitive when 
Harrison Ford protests that he's innocent), and his Reverend Roy 
Foltrigg is a triumph of low-key frenzy, forever purring out threats, 
quietly bullying his stooges, and doing whimsical bits of business with 
baseball caps and school-size cartons of milk. Whenever this hustling 
prosecutor strides on-screen, his irritated nerve endings swaddled in 
his dashing black suit, 77k- Client becomes the wittiest comedy of pub- 
lic manners we're likely to see this year. Shameless but courtly, the Rev- 
erend has the sublime self-absorption of a Daumier caricature. 

There's a marvelously funny sequence about 20 minutes into White, 
Krzysztof Kieslowski's sly comic fable about love and fantasy in the 
newly united Europe. The hero, Karol Karol (Zbigniew Zama- 
chowski), is an emigre Polish hairdresser whose life in Paris has gone 
kerflooey: He's lost his passport; an ATM has eaten his card for lack 
of funds; and his elegant, honey-haired wife, Dominique (Julie 
Delpy), is divorcing him because he can't get it up to consummate 
their marriage. Penniless and unmanned. Karol's only hope of get- 
ting back to Warsaw is to hide himself inside his friend Mikolaj's 
battered old irunk. We watch as the trunk gets thrown onto a plane, 
wobbles miserably down the luggage treadmill, and winds up being 
hijacked by luggage handlers at the Warsaw airport who plan to steal 
its contents. Enraged at finding a stowaway instead of Western 
goods, they beat him and drive off, leaving him crippled and filthy 
in the midst of a municipal trash dump. Karol slowly picks himself 
up, looks out at the snowy, garbage-strewn landscape, and sighs, 
saying, "Home, at last." 

It's a terrific punch line, and you can almost imagine it being spo- 
ken by Kieslowski himself. This brilliant Polish filmmaker's last two 
films. Vie Double Life of Veronique and Blue, were shot primarily in 
France and at moments seemed little more than mash notes to their 
luminous French-speaking stars, Irene Jacob and Juliette Binoche; 
both movies had the frail, overrefined hothouse beauty that often 
comes when an artist is uprooted from his native soil. Kieslowski's 
finest work gets its vitality from the crazy, vulgar brio of Polish life- 
all that booze, all that scheming, all those ruddy, compassionate, iron- 
ical faces. White really takes off the moment Karol reaches Warsaw . 
still obsessed with winning back Dominique, burning to make his for- 
tune in the emerging capitalist culture. 

As Karol goes from being an endearing, almost Chaplinesque 
sad sack to a triumphant venture capitalist, as sleek as an otter in 
his topcoat and burgundy Volvo, the movie paints a shrewd, witty 
portrait of the new, money-mad Eastern Europe, where people ooh 
and aah at neon signs and satellite dishes, and everything is for sale- 
guns, Glenfiddich. fax machines, human corpses. In the movie's 
strongest and most peculiarly life-affirming scene, a man in a de- 
serted metro station pays Karol to shoot him because he's afraid to 
commit suicide. When Karol obligingly pulls the trigger, things sud- 
denly take on a giddy Dostoyevsk m intensity that leaves you gig- 
gling nervously. You can't tell where he tovie is headed, but you're 
willing to follow il Kecause of the effortlessly droll Polish cast (Za- 
machowski is remarkably engagi. is: as Karol) a d the brazen as- 
surance of the filmmaking. 

On one level. Karol's story is clearl a metap for Poland's still 
unconsumtii. :oJ desire to be part of th '■ West as he can't stop 

pining for his faithless Dominique, even bringing from Paris ; 
abaster bust of a woman who resembles her (it gets broken at 
trash dump), so postcommunist Poland still carries a torch for 
freedom, prosperity, and crumbling glamour of France. But des 
Kieslowski's savvy eye for social detail, he's too mysterious a I 
maker to turn out a sociological allegory. Like Milan Kunde 
whose sardonic erotic tales White closely resembles, he's a phj 
sophical artist who's forever seeking to tease out the ambiguc 
moral underpinnings of our everyday lives. This film is the sec 
part of Three Colors, a trilogy that aims to explore the contemd 
rary meaning of the French revolutionary slogan liberty, eqi | 
i i v. FRATERNITY, The first film. Blue, was about a despondent < 
ow discovering the impossibility of absolute liberty from all hur 
bonds. Wliite's theme is the impossibility of human equality, whet I 
in the marketplace or the marital chamber. Karol spends the whl 
movie hustling to restore his virility and conquer the heartle j 
minique (whose very name hints at her own mastery). Yet even \ 
ter he gets what he's been craving the orgasmic white flash t! 
caps a night of their lovemaking— his scheme for revenge keeps thj 
apart. The movie's final twist may be a bit too neat, but it's p| 
sessed of a fine wintry melancholy: We may strive for perfect! 
getherness in love, Kieslowski suggests, but the most we can achitj 
is tender yearning. 

After countless swaggering sagas of boyz in the hood, writer and| 
rector Allison Anders gives the teen-gang movie a feminist spir 
Mi Vida Loca, a series of intertwined stories about Latina hor 
girls in the Echo Park neighborhood of Los Angeles. There are ! 
Girl and Mousie, childhood friends who become rivals when tr. 
have kids by the same baby-faced drug dealer. There's gun-totil 
Whisper; the lovely ex-con Giggles who longs to get out of the bj 
rio; and dreamy La Blue Eyes, a Modiglianiesque college girl wl 
falls for El Duran. a preening macho notorious for shattering giij 
hearts. Losing their men to prison or murder, these young w or 
discover what Anders— herself a single mother with two teen, 
daughters— has made into one of her work's enduring themes: 'I 
matter how much a woman may hope for a man to save her. sh<| 
finally responsible for forging her own destiny. 

Anders has roots in L.A.'s punk music scene, and she instinctiv j 
mistrusts any kind of commercial slickness. With its poky, off-kill 
rhythms, Mi I Ida Loca is self-consciously ragged a deliberate affix! 
to Hollywood's three-act storytelling formula. It would be nice to I 
that this avant-garde raggedness deepens our feelings for the gn [ 
truths of life on the street, but in fact Anders's herky-jerky story line 
far less satisfying than a conventional plot; it keeps flitting awav fix 
Mousie. Sad Girl, and Giggles just as we start to care about them. Sd 
despite its artlessness. Mi I Ida Loca succeeds in putting a new kindj 
life on-screen. Several real-life gang girls have been given bit pans. a| 
they seem to belong to different species from the good-looking actre 
in the lead roles. Staring out from puff) . worn faces impastoed wl 
makeup, their black tiddledv w ink eyes hint at realities far more hj 
rowing than most movies ever acknowledge. 

As she showed in Gas Food Lodging. Anders knows how worn I 
talk to each other and has an eye for small, eloquent perceptioj 
that other filmmakers ignore: the lazy afternoon light that burniJ 
es the barrio sidewalks, the black lipstick and clingy hot pink dref 
es that the girls treat as fetish objects, the relieved wariness wi 
which Sad Girl and Mousie manage to overcome a quarrel that cot 
hav e killed one of them in a gunfight. Mi I Ida Loca affirms fern* 
strength in a world that often seems to be spinning out of contn 
The homebov strut and fret their hour upon the stage. The horr 
girls grow into w omen, raise their children, and forge the bonds th 
keep life going • VOGUE ARTS ► 


1 |l 1 Y 19 

With aHJUflof conditioner foMtfutiful hold that feels soft. That's the beauty of 

finesseFhair spray 

Conditions'^ 011 lays you need 

F I N t " S E 

and E jon days you don't. That's the beauty of 





On the town: 


Paul Rudnick (front 

row, center) with 

the masked cast 

of his new comedy. 

The Naked Truth, 


left: Debra Messing, 
Peter Bartlett. 
Cynthia Darlow, 
John Cunningham, 
Victor Siezak, Mary 
Beth Peil, Valarie 
Pettiford. and 
J. Smith-Cameron. 

black-tie me up 

In his new play, Paul Rudnick affectionately skewers both uptown hypocrisy and 
downtown pretension; benefits and bondage. Bob Morris watches as worlds collide 

It'slunchtime at Manhattan's Le Cirque, and Paul Rudnick. whose 
hit off-Broadway comedy. Jeffrey, about romance in the time of AI DS. 
is being made into a movie right now, isn't making a fuss about the 
double-breasted blue blazer he's being issued by the management. As a 
writer who knows which rules are worth breaking, he accepts the fact that 
he's underdressed for this most conspicuous of lunching places and sim- 
ply slips the jacket on over his denim shirt without any catty comments 
about its condition or the width of its lapels. Then, like a good little boy. 
he follows the maitre d' through a perfumed landscape of lacquered hair- 
los, Hermes scarves, and spectator pumps to a table in the corner. 

In many ways. Rudnick. who has also written the novel I'll Take It. the 
play / Hate Hamlet, and the movie Addams Family Values, is a good lit- 
tle boy. That is to say. he's never rude, the w a> so many of the profes- 
sionally funny are. Also, he's never been am -ted, the way Oscar Wilde 
was, or addicted to danger, the way Joe On 1 1 was. And given the social 
standing of other noted satirists from Ton Volfe to Fran Lebowitz. it's 


not as strange as it might seem for Mr. Rudnick. whose last play opened 
with as explicit an orgy scene as has ever appeared on the legitimate stage, 
to be lunching among the ladies. Especially since his new comedy. Vie 
Naked Truth, which has just opened at the off-Broadway WPA Theatre, 
is about the socialite wife of a Republican presidential candidate. 

"I've always been addicted to the society columns," says Rudnick. 
a raconteur who upgrades chatter into the sphere of art. "The people 
in those columns are my favorite fictional characters. They're like 
debutante superheroes. Nan Kempner! Pat Buckley! Chessy Rayn- 
er! Mica Ertegun! All those women I consider quite valiant and even 
heroic. I mean, if they suddenly vanished into some social tar pit, I'd 
miss them terribly. First of all. they actually raise phenomenal amounts 
of money for worthy causes. That's too easily dismissed. And they're 
the last women who live for fashion and whose lives are so politically 
incorrect they're irresistible. It's too easy to condemn them. So why 
not just celebrate and exploit them " ►^ 




Rudnick's Nan in The Naked Truth is an ash blond who says things 
like "Don't you ever feel Chanel is really all you can count on?" and "Sex 
is like being a good hostess." She finds herself in a bit of a mess as the chair 
of a museum benefit celebrating an exhibition that includes several sex- 
ually explicit photographs by a Robert Mapplethorpe-like photograph- 
er named Alex. Her pol hubby, who's having an affair with a centerfold 
model from Georgia, wants the photographs removed to avoid a scan- 
dal. Converted by Alex in the end, Nan triumphs in a red evening gown. 
Sex. Politics. Paparazzi. Quilted bags. Its a madcap scenario that allows 
Rudnick to skewer the New York ben- 
efit scene, which can be as overreaching 
as a Busby Berkeley musical set in the 
Liberace Museum. 

"I tend to be invited to these things 
at the last minute, and I'm always hap- 
py to go," says Rudnick. 36, who grew 
up in a supportive, happy family in New 
Jersey and went to Yale. "I remember 
there was one party that was a benefit 
for a halfway house for recovering drug 
abusers. The theme of the party, for 
some reason, was the Enchanted For- 
est, so the place was decorated with ever- 
greens and full-size potted trees. There 
were even special people to brush the 
pine needles off the guests' shoulders. I 
kept hoping there would also be some 
used crack vi I - mattered on the floor. 

A number of recovering drug abusers spoke quite movingly to a crowd 
that included rock stars and designers who all looked like they'd just got- 
ten out of the Betty Ford clinic or been arrested with cocaine in their 
trunks that weekend. It was a terrific party, but it had the element of ab- 
surdity of the wealthy gathering to raise funds for something totally wor- 
thy in the most appealingly inappropriate manner imaginable." 

Despite such epic absurdity, Rudnick (who doesn't think black-tie is 
inherently evil) disdains the notion that people should just buck up, stay 
home, and write checks. "When they don't have a party, the economy suf- 
fers," he says. "The baby-sitters don't get paid. The eater-waiters don't get 
paid. The florists don't get paid. Who are we helping? I think the rich ex- 
ist primarily to entertain the rest of us, which is why they should be allowed 
every excess. Don't people get why Communism fell? It wasn't because 
of hunger or a lack of freedom of expression. It was because people want- 
ed Levi's and Pat Buckley! They wanted a little shine in their lives!" 

Rudnick, who also says he doesn't "have a fear of finance, just a yearn- 
ing." may be the only writer to link charity balls with the collapse of the 
Soviet Union, but it's not atypical of his inscrutable logic, which is as in- 
formed by camp as by reason. 

"Also what I love is when you put those socialites in direct confrontation 
with the avant-garde." he continues, as fish knives click against china and 
conversations burst into little poufs of laughter around the restaurant " 1 
love that sense of let s have an artist at oar table, because, as the decades 
have progressed, the artists have gotten extremely outrageous. The real 
inspiration for the play was an opening I attended of some of Map- 
plethorpe's extremely explicit photographs. The guests were just stand- 
ing there, very well dressed, with cocktails and hot hors d'oeuvres. chat- 
tering in front of photographs of these enormous erections and couples 
in dog collars. As a social situation it struck me as kind of comic. But 
what are you supposed to do in from >f th< nictures? The same thing 
you do in front of a Rothko or a Jasp<. Job i talk about your plans 

for the weekend." 

The censorship issue also figures in Tlie Naked Truth, which opens 
with an S & M scene and plows through more taboos in ten minutes 
than Madonna has in ten years. "It relaxes people if the first thing you 

I've always been addicted 

to the society columns," 

says Rudnick. "The people 

in those columns are my 

favorite fictional characters. 

They're like debutante 

superheroes. If they 

suddenly vanished 

into some social tar pit, 

I'd miss them terribly" 

show them is the thing they think they can't take," he explains. "Corj 
edy allows you to demolish barriers in a remarkably pleasant way." 
any rate, he's more concerned with lambasting the prudery of sop! 
ticates. who he feels should know better, than the reactionaries, wr 
are "just plain wrong." 

"This play is more about what makes a liberal flinch," he says, 
what Lreally wanted to get to is. what is disturbing about these picture 
Why does any portrayal of sex make people so nervous? It's a confust 
issue for me and for everyone because it's about the most intimate I 

there is. When you're talking about he 
people feel about their bodies, aboj 
their desirability, about their taste in i 
uality, it's real touchy." 

Jonathan Swift was a bitter satiria 
Moliere a moralist who exposed pr 
tension, and Joe Orton a savage 
hilist. Rudnick. on the other hat 
considers himself a romantic, and 1 
enjoys telling people that at the he£ 
of his new play (which also incluc 
among its characters a lesbian exn 
who's incited to commit murder wr 
she hears bad French and a fascis 
feminist against pornography) is 
WASP heterosexual love story, 
way," says Rudnick, "the play she 
how sex can be a wonderful elemc- 
of romance. But it depends on if yc 
believe in true love. Not as the opposite of sex, but simply as the mc 
glorious state of human existence." 

Romantic he may be. but nobody gets off easy in his play. The lit 
als get it. "Liberals are just people who are terrified of not being cooll 
he says. The downtown crowd gets it. it can be exhausting to be she 
ing all the time. Look at Madonna." Women against pornography get j 
"It's a call for censorship operating as the protection of women's right 
he says. The only one who doesn't get it in 77?^ Naked Truth is the Ma 
plethorpe character. "He was genuinely satanic in the most delight 
way," Rudnick says of the photographer, whom he never met and wr 
died of AIDS in 1989. "He was a pioneer, a man of such personal i 
netism that he was able to go from dinner at some socialite's to the He 
fire Club in a single evening. He kind of brought the leather jacket ii 
the drawing room, not to mention the nipple ring, and that s a fasci 
ing part of America's social history. 

"The truth is that the arts aren't anywhere nearly as powerful as ] 
pie think," he continues. "It would be wonderful to think that you cot 
write a play that would actually help people or upset them or change I 
course of history. But I think it's very rare that someone actually goj 
from the arts and entertainment pages to the front page of the new sp 
per. and Mapplethorpe certainly did that." 

It's time for dessert, and while Rudnick looks through a copy i 
Mapplethorpe's Tlie Perfect Moment with images including an inte 
racial gay couple kissing, a black phallus protruding from the fly oil 
three-piece polyester suit, and a naked female bodybuilder— a silver iri 
of cookies is placed on the table. "There are very few good restaurar 
where you can get pink food." Rudnick says of a petit four. After gr 
ciously returning the blazer, passing Liz Smith at her usual front tabll 
and remarking that one woman's hair color matches the wall, Rudniij 
is in a cab heading back downtown. He's buoyant from the theatric 
excesses of Le Cirque. "I love seeing all those women who spend i 
morning getting ready for lunch." he says. "All those pink and pale bit 
outfits! There's so little Armani or Donna Karan. It's all Oscar de | 
Renta and Bill Blass and serious chiffon! The rings! The brooch* 
When's the last time you saw a brooch " • VOGUE ARTS ► 


\ OGl 






will you 
carry my guitar, 


The Breeders' Kim Deal has 

helped define the image 

of the guitar gal, selling a million copies 

of the zingy Last Splash 

without selling sex. As the group 

embarks on this summer's 

Lollapalooza tour, she recounts some 

discordant notes from the road 

When you're a "woman in 
rock," you never think about 
it, unless journalists ask stu- 
pid questions. But since forming the Breed 
ers in 1989 with m j sistci Kelley, we've 
been touring the world, and I've experi- 
enced several cpiscxlcs that made me won- 
der about people's attitudes including m> 
ow n about bcha\ 101 between men and 
women, whether in rock or out of it- 
Oil base. A beautiful June afternoon in 
199 1 m our hometown. Dayton, Ohio. 
( )ur bass player, Josephine, was in from 
England. We were rehearsing, and 
Josephine blew out the fifteen-inch speak 
or in her amplifier We w anted to replace 
it with a Peave) Black Widow a prett) 
standard speaker so w e called around 
Dayton to find someone who stocked 
them. I inallj we found a Peavej suppli- 
er. I phoned, and a man answered. 

"lb." I said "Do you have a fifteen- 
inch Black \\ idow in stock?" 

He put me on hold and checked. 
When he returned, he reported, 
"\ eah " So 1 told him I would be com- 
ingover to pick it up. 

Well." he said, "when yoi I down 
here, make sure to give me a hi ! 

1 said let's see. 1 can'i ( 
ber what I said I suppose I said. "\ eal 
OK" or "Urn, whatevei " Uter hanging 
up. I w as still tr\ ing to understand w hat 
he meant. 

Josephine, Kelley, and 

piled in the car and talked th 
whole wa\ over about who 
was gonna hue this guv 

We got to the store and 
picked up the speaker, which 
the) d set aside for us. Then 
while I was paying at the 
cash register, Kellej and 
Josephine hurried out o\' 
the store, abandoning me. 

Just when I thought I 
would get out of there with- 
out having to meet the man 
I'd spoken with on the phone, 
an old gu\ w ith w hiskc\ on his 
breath walked up to me. I 
said. " \re you the one w 
promised me a hug'.'" 

I paused. I hugged him. 
left. Kellej and Joscphm 
laughed It wasn't funny. 

Hotel-lobby concert. A S; 

urda> afternoon in Janua 
1993 I he Breeders had bo 
asked to pla> before one 
those music seminar things 
charmless San Francisco h 
conference room. Since we v 
Maying onh two songs in f 
sin JOO people, we hi 
so; : eenj amps to the hotel. 

While people outside pound 
on the door to get in. the gu\ 


. << 


Pop power: 
Kim Deal 
shows her 

ran the public-address system in the 
room was busily running around, a 
little flustered. He was like most mi- 
crophone guys: under a lot of pres- 
sure, doing a job. 

As he was plugging my mi- 
crophone in, a woman sudden- 
ly leaned over and whispered 
into my ear, "I'm sorry about 
this guy. If I was a man, he'd be 
kissing my ass right now." 

Where did this come from? I 
thought to myself, Boy, is she 
wrong. He's a microphone guy. 
Microphone guys are always 
uptight. They have expensive 
equipment. She really 
thinks that her being a man 
would change that? 
After the Breeders played 
our two songs, I found out who 
this woman was. She was hosting 
a conference at the seminar, 
called Sexism and Racism in Ra- 
dio. Who's sexist here? 

Dutch girl. Fall 1993. The 

Breeders were touring Holland, 

and backstage after a show 

some guests were hanging out 

in our dressing room, like 

Frankie somebody or other, 

a European football star. 

Very exciting. 

I was drinking some 
Choco-mel when a Dutch girl 
barreled into the backstage 
area yelling, "Keeem, I am a 
lesbian, I want to make love 
to you!" Over and over again. 
If she had been a hetero- 
sexual man, yelling, "Keeem, I 
am a heterosexual man, I want 
to make love to you!" people 
would have thought it inappro- 
priate; you know, pushy. 
Eventually she toned down. At 
the end of the evening, we all went 
outside and started walking to a bar. 
Somehow I lost the rest of the band, 
and I found I was alone with five 
fans, including this lesbian chick. She 
started up again about how she want- 
ed to make love to me, all liberated and 

When we started off, she'd been 
wearing a backpack and pushing a bi- 
cycle; I noticed that by the end of this 
very long walk, she had played up the 
helpless-female angle to convince one 
boy in the group to push her bike and 
another to carry her backpack. This 
while saying all along, in an empowered 

way, "Keeem, I am a lesbian, I want to 
make love to you!" 

I hate girls who won't carry their own 

To add to this surreal experience, a 
German man in the group then whis- 
pered in my ear, "That's why I don't like 
Dutch girls." 


Dances with men. I was reading an in- 
terview with a fellow "woman in rock," 
Juliana Hatfield, in some sort of music 
magazine, where she said, as some 
women do, something like, "I prefer the 
company of men." "Why?" the jour- 
nalist asked. "Because," Juliana an- 
swered, "women are sexually competi- 
tive." I was bummed. I thought to my- 
self, She's right. You know, women with 
earrings and other ornamentation in a 
group of men can sometimes just sell it 
too hard. It bothered me so much that I 
immediately called Josephine at her 
home in England. I read her the quote: 
"Juliana says she prefers the company 
of men because she finds women sexu- 
ally competitive." And Josephine said, 
without missing a beat, "But— that's the 
best thing about them!" 
No offense, Juliana. 

Stairmeister. July 1993, Munich. I trav- 
el with a big red plastic Samsonite suit- 
case—I like the color. The band was stay- 
ing in one of those micro European ho- 
tels, and of course there was no elevator. 
So I started up the flight of stairs, lugging 
my big red suitcase. 

On the way, a carpenter doing some 
work at the hotel passed me and asked if 
I needed help with my luggage. 

"No, thank you," I said, surlily. I 
thought to myself, What? He doesn't 
think I can get this suitcase up fifteen 
flights of steps? He thinks I'm a weakling, 
just because I'm a girl? 

I carried on, dragging the suitcase step 
by bumpy step. 

Then a woman stopped on the stairs 
and asked me if I needed some help. 

"No," I told her sweetly. "But thank 
you so much for asking." 

I thought to myself, Boy, isn't that 
nice? People just offering to help out 
when they see someone who needs it! 

So this summer, if you see me carrying 
my guitar at Lollapalooza, don't come 
up and offer, "Keeem! Let me carry your 
guitar!" OK? I can handle it myself. 

The amp, on the other hand, is quite 
heavy. . • VOGUE ARTS*76 



classical illusions 

She's young, she's controversial, and she 

doesn't know much about opera. But with her 

new production of Don Giovanni, Deborah 

Warner may give the stodgy Glyndebourne 

festival a new direction. Michael Kimmelman 

examines Warner's rise in scale 

Since its founding in 1 934, by an 
Englishman named John 
Christie on his family's vast coun- 
try estate in East Sussex, the Glynde- 
bourne opera festival has summoned up 
images of dowagers served strawberries 
and cream by butlers on sprawling 
lawns, with picturesque sheep grazing 
behind them, and even of one-act operas 
halted midway so black-tie patrons could 
enjoy leisurely suppers. To be sure. Glyn- 
debourne has also meant musical elit- 
ism. John Christie's wife, Audrey Mild- 
may, was a modest soprano with a spe- 
cial affection for Mozart, and she steered 
the festival toward that composer, de- 
spite her husband's love of Wagner. Dur- 
ing the war, many fine Mozart 
singers fled the Continent. The 
great Fritz Busch left Germany 
and became conductor at Glyn- 
debourne. Its performances 
proved to be crucial in reviving 
interest in Mozart operas, Idome- 
hl'o was given its English debut 
there, some 1 70 years after its 
world premiere. 

The festi' al's cultish, not en- 
tirely fair reputation as stodgy if 
beloved had still not been shak- 
en, despite two Peter Sellars pro- 
ductions in recent years, when the place shut in 1 992 so that a bigger hall 
could be built on the site of the rickety 800-seat shoebox theater. The new 
hall has opened this summer, a spare, handsome, still intimate 1 ,200-seat 
pine-and-brick horseshoe that, by allowing a wider range of ticket prices, 
is aimed in part at attracting younger fans. 

As likely, if not more likely, to do the trick is another new addition to 
Glyndebourne, and pretty new to opera, in fact. On July 1 a production 
of Mozart's Don Giovanni makes its debut under the direction of a young 
Englishwoman named Deborah Warner. If anyone is likely to shake up 
the place it is she. At 35, although still virtually unknown by American 
audiences, Warner is regarded in England and throughout Europe as 
one of the most remarkable among a new wave of theater directors to 
have emerged during the last decade. By 25, she had directed a widely ad- 
mired Lear (without having ever seen the play before) and at 29. won the 
august Laurence Olivier Award for the first of two times for her version 
of Titus Anclronivus with the Royal Shakespeare Company. She has al- 
ready worked almost everywhere except the United States, even doing a 
Bengali translation of Shakespeare's Tempest in Bangladesh. 

Warner is known for mixing dark humor with an especially raw, vis- 
ceral energy, and her productions of the classics have been called "epoch- 
making" by one critic, "an intense, almost religious experience " by an- 
other. Mostly they are stark and minimalist in design, as stripped to the 
bone as the emotions she strives to evoke and as far away from the ex- 
travaganzas that seem increasingly to be Broadway's only stock in trade. 
Even so, for a touted production of Shakespeare's C oriolanus at last year's 
Salzburg Festival in Austria, she packed 50 actors. 200 extras, and 7 
horses onto the stage. "I wanted Bi -ive in Rome on the back of 

a bull," she says, "but actually bull- vi ous. you know ." 

She has also provoked outrage. When hei versi n of Beckett's 20- 
minute drama. Footfalls, was performed at London's tarrick Theatre in 
March, it caused the play's original star, and close H ketl associate. Bil- 
lie Whitelaw. to declare that she felt as if the playwright had been "burned 

at the stake; I felt numb, physically I 
A critic from Hie Guardian said it I 
"a bit like seeing someone doodlin J 
a Rembrandt." Trustees of Beckett! 
tate weren't too happy either and vJ 
drew the rights to it from her, effect 
ly barring Warner from doing the J 
ever again and forcing the cancellai 
of a plan to do it at the theater in 
bigny, France, which had paid for 
production in the first place. 

Warner is talkative, surprisingly n 
est, and disarmingly forthright. Dre: 
in a smart blue-linen suit and silk sc 
her blond hair neatly bobbed, she 
an energetic, almost athletic figure. "|\ 
musical knowledge is negligible," 
says during an interview ab 
Glyndebourne over tea at L 
don's Waldorf hotel. 

She once directed Bei 
Wozzeck at Opera Nort 
Leeds, but she makes no ] 
tense about being an opera ll 
phyte. She doesn't read mul 
speak Italian or German, krl 
much about singers' voices.1 
once you get down to it, c! 
much for how sopranos soul 
"It's very hard, opera," 1 
says. "I don't go into it ligld 
And I don't go into it as an admirer of all things operatic. I'm interea 
in honesty, emotional honesty, and," she says, laughing, "it's not sol 
thing you always see on the opera stage." Her goal with Don Giovam 
to inspire the singers "to act more bravely, boldly, honesdy, freely, 
word honesty comes up often in her conversation. 

She was bom h) Oxford, the youngest of three children, and was 
in a small town in the Cotswolds, Burford. Her father, an antiques de 
and collector whom she calls a great English eccentric, filled their he 
with Elizabethan and other objects whose stories may have sparked 
interests in storytelling and the theater. She also recalls a transforma 
performance at the Bristol Hippodrome that her brother dragged hi 
when she was about ten, A Midsummer Night s Dream, directed by 
eminent experimental director Peter Brook. Brook became her "gui» 
light" after that, she says (she has since been compared to him). "He shov 
me what theater could be, and I'm not sure I would have been in any 
conscious of the potency of theater if I hadn't seen his work." She be 
to write letters to him, begging to sit in on rehearsals at his Bouffes du N 
theater in Paris, and making pilgrimages there. Brook eventually beca 
a mentor. And in 1 989 he invited her to do at his theater the product 
of Shakespeare's early, rarely done, and astonishingly violent Titus, vA 
she had directed for the Royal Shakespeare Company. 

Forgoing a university degree (she claims to be proud of lackin; 
"academic approach" to the classics), Warner founded the Kick " 
atre Company when she was 2 1 . doing Brecht, Buchner, and Sha 
speare plays with no money, no sets, and only odds and ends from 
family antiques shop as props. It was her version in 1985 with the K. 
of Lear (which toured Yugoslavia, Egypt, and Israel) that caught 
attention of the RSC's artistic director Terry Hands. He asked he 
do Titus, a turning point in her career. Hands enlisted veteran actor 
an Cox to star, and Cox has since lavished praise on Warner for be 
"tough, hard, cunning" yet "incredibly open" to her actors. "She wi 
like a giirdener," 'ie once explained. "She prepa js the bed. plants 




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the seeds, waters it, and watches it grow." 

So wrenching was her Titus production, 
apparently, that one night five people in the 
audience fainted. There followed, also with 
the RSC, a King John and an Electro, in which 
the star, well-known Irish actress Fiona Shaw, 
smashed a pomegranate on the floor, spilling 
its seeds and staining the stage the color of 
blood to evoke the memory of Agamemnon's 
severed head. Electro was the beginning of 
Warner's collaboration with Shaw and with 
Hildegard Bechtler. a designer. Warner sub- 
sequently directed Ibsen's Hedda Gabler at 
the Abbey Theatre in Dublin and on a BBC- 
TV production thatmade its way to Muster- 
piece Theatre in America. The play's star was 
again Shaw, who also later took Billie 
Whitelaw's role in Footfalls. 

Not easily ruffled, Warner is clearly 
stunned by the uproar that the Beckett pro- 
duction caused. "The whole affair renders me 
speechless," she says, which isn't literally true. 
Thirty minutes later she has not finished be- 
moaning it. What she did was to transpose 
several lines of text and disregard certain of 
Beckett's designations about costume, light- 
ing, and stage direction— not a great deal, all 
m all. but w . too much for the playwright's 
executors, who apparently believed his in- 
junctions to be sacrosanct (they've blocked 
several productions of Waiting for Godot, too). 
She insists she's not a "textual cowboy," as 
some people have charged, but a sensible, re- 
spectful interpreter. 

She goes on, "A theater text is an infuriat- 
ingly vague thing— which is my love of it." 
Opera, by contrast, is already given firm shape 
by the music. "It's possible to get away with 
doing opera very, very badly. Producers' necks 
are saved by this fabulous thing— the music— 
that's there anyway." What attracted her to 
Don Giovanni 'was first the "unbearably beau- 
tiful" music, she says, but next the "challenge 
of making sense of a series of relationships" 
that have about them an "anarchy and wild- 
ness." It's no wonder, considering her devo- 
tion to the weightiest classics, that of all Mozart 
operas. Warner should be attracted to this one, 
perhaps the greatest and certain!) one of the 
most psychologically complex. 

The Glyndebourne production, conduct- 
ed by Simon Rattle, w ill feature a spare, mod- 
ernist set designed by Bechtler consisting of 
concrete pillars, plastic sheeting, and a tilting 
platform that serves as the tabletop for the 
last-act dinner scene at Giovanni's h< nise. dur- 
ing w Inch it rises up to reveal the pit into w hich 
he descends to hell. 

The hurdle will be getting the singers 
convincingly. "But." she adds, "it's a challcng 
in plays, too. where states of extreme emolioi , 
arc examined M\ hope is to discover the opera 
in the process of rehearsing. It's high risk."* 



beached tales 

This summer's best books tell stories ranging from a yoi 
cowboy's perilous journey in the last days of the Old Wes 
to a woman's erotic adventures in the South of France 

Written for his two young 
daughters, Henry Louis 
Gates, Jr.'s Colored People 

(Knopf), which describes for 
them the world of his child- 
hood, is a charming and im- 
portant memoir. Gates— now 
the chairman of Afro-American 
studies at Harvard— does a won- 
derful job of describing Pied- 
mont, West Virginia, in the 
1 950s and of evoking a vivid portrait of his large 
family. He remembers his maternal grand- 
mother and her extended brood through his 
own uneasy relationships with his father and 
his strong mother, whose poetic and thought- 
ful funeral eulogies made her a local celebrity. 
Simultaneously, he recalls eagerly watching the 
dawning of the civil rights era on television; in 
a town where blacks could not own property, 
it was an event when a black face appeared on 
TV. By examining his growth from a colored 
boy known as Skip into a well-respected schol- 
ar, Gates has created a valuable record of an 
unforgettable time— shax riegler 

Right from the start of Howard Norman's The 
Bird Artist ( Farrar, Straus & Giroux) it's dear 
that the author— who was nominated for a Na- 
tional Book Award in 1 987 for his first novel- 
knows how to tell a 
story. His third of- 
fering is one of those 
rare finds, a power- 
ful tale that is en- 
grossing and care- 
fully drawn. Set in a 
tiny, rugged coastal 
village in New- 
-, ^ ^"^« foundlandin 191 1. 
the book is the un- 
usual life story of Fabian Vas, an artist (he 
paints birds in their natural habitats) and a mur- 
derer (when he was 20 he shot the lighthouse 
keeper, the lover of both his mother and his 
girlfriend). Vas's thoughtful examination of 
small-town life and the events that drove ~ . 
him to the lighthouse t\\ eh e years ear- PCMm 
lier fascinate to the end. So too do Nor- 
man's original characters. And though 
each of their stories comes com enientry 
to its o\\ n very tid\ conclusion when 
\ > confession is complete, it doesn't 
matter Norman has created a work of 
unerring charm. JENNIFER imi rce 

In My Own Country (Simc 

Schuster), Abraham Vergl 
chronicles the arrival of AID 
small-town America. Bor 
Ethiopia and graduated fil 
medical school in India, Vel 
ese arrives in the United St J 
around the same time as the l| 
virus and ventures to Johnl 
City, in rural Tennessee, wrl 
he becomes an AIDS exp 
When a young gay man returning h( 
from New York dies of AIDS, doctors i 
decide whether to burn or bury the resp 
tor that kept him alive. The commui 
thinks this is a one-time event; instead, 
first case establishes a pattern. Verghese 
tails the heart-wrenching experience 
many of his patients: a handful of gay 
heterosexual couples and a hemophil 
Meanwhile, he struggles with the prejuc 
of other doctors and the community's i] 
ranee and copes with the growing dista 
of his wife. Worse, he grapples wit 
tremendous sense of loss with each patie 
death. Yet Verghese— who had always 
he lacked a home— finds solace in the wa 
of the community. Although many of tl 
stories are devastating, they're also gripr 
and wonderfully written.— DEBORAH Pli- 

Edna O'Brien's latest novel. House 
Splendid Isolation (Farrar, Strau 
Giroux). tracks two victims: an aging wit 
and a wanted IRA agent on the run. Jc 
lives out her remaining years on the idy 
farm she once shared with her husband 
the outskirts of an Irish village— the perl 
hiding spot for a terrorist. When McGre 
takes over her home. Josie struggles to 
cept her fate and manages to befriend h 
During her tenuous and lengthy captiv 
she remembers her futile affair with a pri 
which ruined her marriage and brought so 
from the village, and she sees that her o 
opportunity for redemption is to save I s 
Greevy. Josie's conti 
ous questioning 
scoffing of the IRA ct 
es McGreevy to rec 
uate his allegiance, bi 
surprising turn of eve 
makes this book 
thriller to the end. 








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Susai J. I 

Any woman who has ever cursed men for their 
self-proclaimed role as leaders of society yet se- 
cretly dreaded "what he thinks of my hips in a 
bathing suit," will find understanding company 
in Susan J . Douglas, author of Where the Girls 
Are: Growing Up Female with the Mass 
media (Times Books). With schizophrenic glee, 
this baby boomer (and ex-Gidget wannabe) de- 
constructs that post-Stein/pre-Steinem period 
in history when a generation of American 
women were earnestly being represented in the 
media as beach bunnies, beauty queens, and 
bionic women— in short, bubbly creatures who 
"never knew as much as Dad. or even Mr. Ed." 
The result is a penetrating 
flotilla of wit, nostalgia, and 
revenge. Even for those who 
may never have felt the lib- 
erating thrill of torching their 
bras or the stifling pressure 
of the Fword (feminism), 
Douglas delights as she 
dresses down the media to 
its sexist bone. Justifiably 
and enjoyably— the fairer sex 
cries foul— ken baron 

Men are little more than transient objects of 
curiosity and lust in Mary Grimm's first col- 
lection. Stealing Time (Random House). 
In these fourteen tales— many of which are 
told by female narrators who speak to us in- 
timately—the most enduring relationships are 
those between women. "Research" is a 
woman's reflection on the exploits, follies, 
and firsts (including first-time sex) of her 
sophomore year of college. In "We." two 
lonely, bored housewives plunge into one ac- 
tivity after another— from book clubs to bad- 
minton to culinary experiments. And in in- 
terview with My 
Mother." a wom- 
an considers all 
the questions she 
wishes she could 
ask her mother, 
who lies uncon- 
scious in a hospi- 
tal bed. Grimm's 
prose is engaging 
in its directness, 
and her unspar- 
ing vision of often \ erv troubled li\ es is tem- 
pered by her belief in the value of sj mpathy, 
friendship, and sisterhood. CATHERINE HONG 

Cormac McCarthy's new novel. The Cross- 
ing ( Knopf), returns to familiar te 
harsh and dangerous West of rogues . 
olutionaries, cowboys and horse thie\ es 
second volume in his Border Trilogy, whiel. 
began with All the Pretty Horses ( 1 992's Na- 
tional Book Award winner), tells of another 


teenager, old before his years and 
deeply attached to the land he rides. 
When Billy Parham traps a wolf 
stalking his father's cattle and re- 
turns the injured animal to her na- 
tive mountains of Mexico, the per- 
ilous journey foreshadows ajnore 
desperate ride south that he'll make 
with his kid brother to recover stolen horses. 
While boys back home are enlisting for World 
War II. the Parham brothers fight a wholly dif- 
ferent, if equally horrific, battle in lawless : im- 
poverished Mexico. They, like the West, are an 
endangered species. McCarthy's quietly volup- 
tuous, beautifully spare prose makes Vie Cross- 
ing a seamless, epic poem on the violence of 
human nature, victoria low ry 

In Rise the Euphrates (Random House), 
first-time novelist Carol Edgarian personalizes 
the horrors of the Armenian holocaust of 1 9 1 5 
through the story of three generations of women: 
grandmother Casard, a holocaust survivor; 
Araxie, the mother: and her daughter. Seta, the 
book's narrator. When the Turks culminated 
their massacre of more than one million Arme- 
nians by forcing women 
and children into the cold, 
rambling waters of the Eu- 
phrates River, the child 
Casard let go of her moth- 
er's hand, leaving the 
woman to plunge to her 
death alone. Unwilling to 
confront her past. Casard 
dooms Araxie's marriage 
to George, an odcir, or 
non-Armenian outsider, 
with damning predictions 
like. "What happens . . . after he gets tired of you 
and there is nothing, no history, holding you to- 
gether?" And, of course, the sadness of the moth- 
er infects the daughter, and Seta is left to make 
a decision: stay in the past, the life chosen by her 
mother and grandmother, or seek freedom, in 
whatever form it takes. Rise the Euphrates is a 
historical novel with a psychological message: 
Confront your demons and let them disperse. 

\s ( arole Maso proves in her fourth novel, 
The American Woman in the Chinese 

Hat I Dalkey Archive Press), a lot more goes 
on under the hot Provencal sun than just the 
charming escapades Peter Mayle chronicles 
in his perennial 
best-sellers. The 
first-person narra- 
tor of this intense. 
incantatory, and 
err ic novel is J**- 

inc. who is c /U»eru*oM 
spending the sum- *-\fl*? / ^L^i*. 


mer writing in the Sout 
France. As she sits drir 
pastis in the cafes, wearir 
hat from Chinatown, wr 
in her notebook, and watc 
everyone kissing, she obs 
about Lola, the woman sh 
left behind in New York, 
when Lola— unable to withstand so much| 
tance and "genius"— tells her over the pr 
that she is leav ing her. Catherine begins a | 
destructive spiral. First she engages in a I 
dom foursome after a Michael Jackson i 
cert; then she fixates on a young Frencl 
of a "beauty so perfect, so complete. th| 
makes all else seem inconsequential, 
chronicles Catherine's disintegration in a pi 
that is precise and rhythmic. Catherine 1*1 
control but Maso never does in this exquisi| 
calibrated evocation of longing and lust. 

In his new novel. The Ice Storm < I n| 
Brown), Rick Moody examines the cot 
quences of the Me Decade's moral relativil 
Set in New Canaan in 1973. the book stl 
ingly re-creates the period without: 
ta sorting to camp and charts the bre 
down of the Hood family. Bored byl 
long Thanksgiving weekend and 
spite reports of a coming winter sto| 
Benjamin and Elena Hood attei 
neighborhood gathering that becoi I 
an infamous "key party"— a son 
wife-swapping lottery. Moodj 
poignant tale of that night's turbull 
events places him in the traditioi J 
such other suburban WASP auth I 
as Cheever and Updike. But by fix| 
ing on the children of these confused adi 
he puts a distinctly nineties spin on what mi| 
seem familiar territory. s.R. 

You know a book must be promising wr| 
its proposal attracts so much attention th£ 
gets published in Granta. That's what \\\ 
pened to Mikal Gilmore's Shot in the i 
(Doubleday). and not just because Gilmoi| 
older brother Gary was the notorious Ext 
turner's Song killer who requested the de; 1 
penalty in 1977. Mikal's pieces in RollA 
Stone are consistently trenchant and movi I 
and now he's turned his keen eye on his o| 
kin. bearing vivid witness to the unraveling 
an American family . "When you start 1 
ing at all the links in the story closely enouj 
he writes, "you discover [that] . . . each : 
ment made a difference, and there were jij 
too damn many of them that were bacl 
Gilmore has achiev ed a personal exorcil 
that untangles the skein of deception, violenl 
and insanity in his family. It's a harrowing rl 
you won't soon forget -david handelm f 




Life is full of surprises. 


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wmm M . imr ram s gad mm m babigarten Joseph mm ™* m wra 

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palace goes public 

Unless you're a member of the British royal family 

or about to be knighted, Buckingham Palace 

is open only two months of the year. 

And next to Streisand, it may be the hottest ticket 

of the summer. Patrick Kinmonth takes the tour 

that allows anyone to be queen for a day 

Royal souvenirs: a 
photograph of the 
Queen Mother, above 
left, displayed in a 
paper frame; above: 
A teacup in a pattern 
inspired by the royal 
family. Desk accessories 
include an ornate 
blotter, left, and, below, 
a porcelain pillbox. 

The British royal family have had quite a bit of 
bother with their palaces over the years. White- 
hall was virtually gutted in 1 698 when a dim 
laundress dried the royal linen too close to the hearth. 
Two sections of St. James's went up in flames in 
1 809, Westminster burned in 1 834, and some years 
ago John Nash's incomparable work at the 
Brighton Royal Pavilion was attacked by a nut- 
case, while Hampton Court and Windsor have 

both recently blazed. But these clouds of 

, , , , ,.,,.. __ Mementos of ; 

smoke have had several silver linings. The LEf _ r A tQ^j,^ 

Westminster fire gave rise to the phoenix of the queen's | 
the Housesof Parliament and Big Ben. residence, for i 
Hampton Court and Brighton have been im- corresponded 
peccably restored. And now that the queen 
must raise many millions for the restoration of Windsor, we arj 
being allowed inside Buckingham Palace, just to have a snoop 
We enter unceremoniously. And that, it seems to me, is 
start of our problems. I refe 
to the Royal We, you un<j 
stand, but We in the Queue- 
stand in line to get our ticl 
and discover we also havl 
wait for an allocated entry tij 
then we stand around sc 
more, and now, here we ; 
the monarch's "Worl 
Palace" as one guidebook ch| 
mily puts it and . . . well, it < 
not work for me. 

But it is not the waitil 
Hanging about and royalty | 
in my mind, absolutely associated. They do it all the time for everyc 
and everyone does it back in return. They wait for hours for speeche 
end. for planes, trains, and ships to arrive, for opera curtains emblazo I 
with their initials to close. They wait for dancers to cease, tiresome di | 
taries to leave, ambassadors to retire, and if they are the Prince of Wa 
a lifetime to become king. But to return to the ladies- and gentlemer 
waiting-to-get-in: The lack of ceremony means that we have not < 
for the queen but for the queue. Forget tailoring and clean hair and ] 
ished shoes. The ladies are in outfits for aerobics and the men in shJ 
and two days' growth. The Grand Staircase can never have witnessecj 
many hairy knees. 

This violent cast change only emphasizes the importance of stage 
in royal life. These formal rooms riddled with gilt need red liveries, i 
sons in crowns and uniforms and screwed-down hairdos to make ser 
Without the drama's blazing lead characters, the set is left looking a 1 
drab, a little disappointing. I have a curious sense of sleepwalking, as i 
nally having one of those dreams that involve finding yourself eatingl 
cream with Her Majesty on the floor in the throne room. Except thatf 
this occasion the surrealism of the experience comes from being in 
throne room, without the queen, but with 1 00 people in sportswear. 
The unreality of the proceedings is enhanced by the fact, in itself I 
surprising, that no one knows who we are. We have not coma 
be knighted or consulted, to be honored or entertained. II 
only to satisfy a certain curiosity, like prospective buy] 
viewing a property with no intention to buy, or just to [ 
closer to understanding what on earth it is like to be 
Windsors, and for many, to see if they can penetrate 
mystery that has seized much of the media in the past cou 
of years: Why are they so miserable' 1 There are no clues 
this inside the quadrangle of the palace, only a conundru 
Casting my eyes downward from the unexpected beau- » 



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es ot~ the cast-iron work that supports the glass canopy, I come upon the 
Ktraordmary sight of the sweep of steps up to the entrance. They are cov- 
red in easy-wipe white linoleum. Prince Charles, who makes much of 
le appropriate use of materials in architecture, has presumably not been 
onsulted. Or perhaps he has, since the guide finds it delightfully eccen- 
ic and so ungrand that it is supersmart. "Even the State visitor will alight 
om his carriage onto good old-fashioned white linoleum . . . (very prac- 
cal with so many horses around)." 

Personally, I prefer my palace steps in stone, marble if you must. Sure- 
, one could find in the quarries of England something suitably horse-re- 
stant in beige? However, once past the linoleum we are in no position 
> judge the taste of the current occupants. For within, it is as if the pre- 
ent royal family has never existed. The interior stops with a bump at 
bout 1914. having been jerked into life when the place was given a thor- 
ugh architectural going-over by John Nash for George IV and massively 
'isimproved by Edward Blore for Queen Victoria. By the First World 
v'ar. in terms of impact and beauty, the palace was already in decline, 
he picture gallery that had shown Nash in his fanciful manner, allow- 
\g light to fall through numerous cupolas into the long room, had be- 
jome a plain curve more appropriate to a municipal swimming pool. 
(Vails downstairs that had been a riot of scagliola in Nash's scheme (it 
[racked and fell to bits soon after), and then reveled in rich color, are now 
tainted an unrelieved white and gold, their splendid gaudiness dulled. 

But Buckingham Palace has always had as many detractors as fans. 
[Never," wrote Thomas Creevey in 1835, "was there such a specimen 
f wicked, vulgar profusion. It has cost a million of money, and there is 
lot a fault that has not been committed in it ... . The costly ornaments of 
fie State Rooms exceed all belief in their bad taste . ..." So maybe the 
let that most of them have been altered is not all bad news. 

There are, of course, treasures to be enjoyed, like chocolates of the 
ighest quality nestling in their fussy gold box. Architecturally, we must 
^knowledge Nash's inventive use of glass, etched and fretted into the 
filings between plaster ribs in a most original manner. As far as the fur- 
iture, several pieces astonish. One, a commode entirely inlaid and en- 
listed with semiprecious stones, is fascinatingly described in the guide: 
In 1 782 it appeared in the posthumous sale of Marie-Josephine Laguerre, 
member of the chorus at the Paris Opera, who supplemented the stipend 
at institution provided by exacting enormous prodigalities from an end- 
ss string of lovers . ..." She died at the age of 28, and this commode, her 
Jnest trophy, with fruit enough for a delicious French tart, stands as a 
lemorial to one. The frenchified taste of George TV accounts also for 
ny number of clocks (which happen not to make my heart beat faster) 
id pieces of Sevres (ditto). I cannot help, however, slavering over some 
lt-bronze candelabra by Francois Remond for Versailles. A souvenir 
j om a truly great palace marooned in London. 
J I suppose that all of us there have been bombarded in our time with 
ktremely intimate images of the Windsors. The humiliation of the pri- 
me telephone call transcripts and dreadful glimpses of uncovered flesh 
ire present in many minds. Some try to populate this pink-and-gold bar- 

racks with the private dramas that have unfolded. But they have taken 
place in other palaces, and cars, and country houses, practically anywhere, 
in fact, but here. That is not going to stop one woman. "Just look at the 
huge great place," she mutters with feeling. "No wonder Princess Diana 
gets so lonely here and sad, with no cozy corner for a njee cup of tea." 
That Princess Diana has her own home to go to, several probably, is not 
about to cheat this lady of her fantasy of Diana, tearstained and tiaraed, 
trailing damply through vast rooms beneath gorgeous chandeliers; a sort 
of Zeffirellized dream. In her case, that is what she has come for. 

For these State Rooms are not loved and are not rooms in which love 
is made or unmade. Not a single flower stands in a vase to soften the chilly 
lines; there is not a trace of perfume to aid our reveries. The closest we come 
to a sense of our absent hosts is the glass surface of the concealed mirrored 
door through which they appear unexpectedly at formal gatherings. 

Other visitors, the ones not in shorts, make it clear that they are above 
all this kind of thing and have Only Come for the Paintings. As a most per- 
ceptive painter friend of mine has often remarked, a good painting can 
look bad in bad company, but a great painting still looks great, although 
often a little uncomfortable. The outstanding masterpiece for almost every- 
one, no matter what they are wearing, is the portrait by Rembrandt, Agatlia 
Bas with a Fan. It has to be said that she looks entirely comfortable in her- 
self, moving vividly toward us beyond the surface of the picture, but the 
painting looks as out of place in the powdery pink gallery as it would be 
in place at the National Gallery nearby. Nonetheless, it must be said that 
she is the best-dressed woman in the room. For color, unsatisfied as we 
art lovers are by the walls upon which the paintings hang, we can plunge 
into the gorgeous surfaces of Van Dyck's portrait of Charles I and Hen- 
rietta Maria with its play of ambers and apricots. I cannot help imagining 
the gallery as Queen Victoria described it, a "fresh-painted dove color" in 
1 85 1 , the winter light filtering through Nash's 30 or so domes now gone 
forever. They say you could not see the pictures properly, but then ap- 
parently, as we all still must discover, you can't have everything in life. 

As we start to descend the stairs, one woman falls to the ground. I has- 
ten forward, fearing a collapse at the emotion of royal proximity, or at 
least a lost contact lens. "No, no I'm quite all right, thank you," comes 
the response to my offer of help. "I'm just seeing if their carpet smells like 
ours." The closest she could come to a whiff of royalty. 

Absorbed in the impersonality of a crowd too decent and intimidat- 
ed to become a mob, we flow on, past an implausible Sevres "pot-pour- 
ri vase" shaped like a kind of boat that "probably belonged to Madame 
de Pompadour." Can't they be sure? And so on to the long-patient queue 
outside the gift shop, for china bits and pieces that Madame probably— 
let's face it—definitely, would never have bought. Forsaking the pleasures 
of the shop for a quick getaway, I surprise Sniffwoman gorging herself 
upon the ripe fruit of a mulberry tree that overhangs the path on the way 
out. For no matter how much access we are offered by the royal family, 
or how much is snatched without their permission, it seems that some will 
always be greedy for one more sweet, stolen handful before they find 
themselves, as we are all obliged to, leaving by the back door. • 

Storming the palace 

uckingham Palace will be open to the public 
om August 7 to October 2. Tickets, however, 
ire about as hard to come by as those for a 
treisand concert. The standard drill involves 
landing in a first-come-first-served line on the 
lay you want to visit and hoping you'll get 
bmething for that day. But if a three-hour wait 
ith no guarantee of admission is not your cup 
' Earl Grey, there are a few alternatives. These 
)st more than the price of entry (approximately 
12 for adults, $6 for children under seventeen) 
lut save you a lot of hassle. 
One of the most luxurious ways of seeing the 
ilace is with Take-a-Guide Ltd., a company 

specializing in custom-designed tours of London 
and vicinity using private cars and limousines. 
Take-a-Guide's full-day London tour is geared to 
groups of up to four that can choose exactly 
what they want to see. This year the most 
exciting option is a private swing through Buck- 
ingham Palace, escorted by a Take-a-Guide staff 
member. The price for this eight-hour London 
outing is $402 for four people sharing the car, 
with an additional $12 per person for the palace 
portion. Phone (800) 825-4946. 

Decidedly less expensive is the Buckingham 
Palace and London Highlights tour, offered 
through the venerable firm of Edwards & Edwards. 
For $45, travelers get a two-and-a-half-hour coach 
tour of London landmarks, winding up at the 

palace gates for the standard 90-minute walk- 
through. This itinerary is available at various times 
of the day from August 9 to September 20; K can 
be booked in advance from Edwards & Edwards's 
U.S. office: (800) 223-6108 or (212) 344-0290. 
Finally, some London hotels are luring guests 
this summer with the promise of palace passes. 
One of these is the 74-room Stafford, a short walk 
from the royal residence, which can get its guests 
inside without their having to queue up. The hitch 
is that the Stafford's tickets cost about twice the 
normal price. The good news is that a double room 
at the Stafford, which usually runs around $300 
a night, has been reduced to $225 from July 15 
to September 4. For reservations and information, 
phone (800) 5254800. -RICHARD ALLEMAN 

lOGUE JULY 1994 


travel clips 

Italian secret: 


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hot trips 

From Bora Bora to Zihuatanejo, Richard Alleman catches 
up with seven of the world's newest— and nicest— getaways 

CLUB MED— BORA BORA With the recent open- 
ing of its village on the French Polynesian island 
of Bora Bora. Club Med takes resort design in 
a bold new direction. Set on 20 acres by the sea, 
the 300-bed Bora Bora Club Med reflects the 
vision of French designer Christian Liaigre, 
known for nil dramatic renovation of Paris's 
hold Montaki abort Within the minimalist bed- 
rooms of Liaigre's Bora Bora village are such 
site-specific furnishings as chestnut-stick stools, 
chaises, and headboards; teak safari chairs; and 
tiny lights sunk into the tile floor. Public areas 
are even more striking, especially the open-air. 
cathedral-ceilinged bar with its hanging 
"mosque" lamps of blue glass and its crushed- 
coral floor. Besides innovative design, the new 
Bora Bora resort also offers amenities not as- 
sociated with the usual Club Med vacation phi- 
losophy: room sen ice. in-room telephones and 
sales, and quite a bit less of the club's infamous 
are-we-having-fun-yet? style of entertainment. 
Sports are mostly pursued underwater— from 
sensational snorkeling to frightening but fasci- 
nating shark-feeding expeditions. Prices, which 
include practically everything but airfare, are a 
low S 1 ,300 per person per week, double occu- 
pancy, now through mid-December. Phone 
(800) CLUB-MED for further details. 

AMANWANA For the ultimate in exotic desti- 
nations, the Indonesian island ofMoyo isaone- 
hour flight and then a one-hour boat ride from 
Bali. The trip may be worth the trouble, because 
Moyo is now home to Amanwana. the newest 
brainchild of Adrian Zecha. the mastermind be- 
hind such dream resorts as Thailand's Aman- 
puri and Bali's Amandari. At ecologicall) cor- 

rect Amanwana. guests stay in lavish "tents'' 
with teak floors, chic bathrooms, and vast 
bed/sitting areas. The main activity here is con- 
templating nature, which can be done without 
moving a muscle or in conjunction with swim- 
ming, diving, fishing, or hiking. Rates are S400 
or S450 a night per couple, depending on 
whether your tent is in the jungle or on the beach. 
Phone (2 12) 223-2848. 

CHATEAU DE BAGNOLS One of France's most 
important castles, with roots that reach back to 
the thirteenth century, the Chateau de Bagnols 
was saved from ruin several years ago by a 
wealthy Englishwoman, Helen Hamlyn, who 
not only restored it but turned it into a superla- 
tive 20-room hotel. Already a hit with titled types 
( Baroness Marie-Helene de Rothschild is a reg- 
ular), the chateau, which lies fifteen miles north 
oi' Lyon in the Beaujolais countryside, has yet 
to be discovered by the masses. But then with 
rates that range from S300 a night for a double 
to $700 for a suite, there's not much chance of 
that happening. Phone (212) 223-2848. 

VILLA DE BELIEU If you're headed for the 
French Riviera this season, there's a great 
undiscovered place to stay just minutes from 
the heart of St.-Tropez. Set on a hill covered 
with vineyards, Villa de Belieu has eighteen 
romantic rooms and suites, each decorated 
in a different st\ le. as well as indoor and out- 
door swimming pools, tennis, a Roman spa. 
and an excellent restaurant High-season rates 
(Juh 2 to August 31 1 start at $327 a night for 
a double and rise to around S 1 .000 for the 
sweetest suite. Phone (212) 599-8280. 

Pool with iTv 

PALAZZO BELMONTE Although it's beer 
years since the Principe di Belmonte tume 
of his seventeenth-century estate into a 1 
few Americans know about this enchanting 
in southern Italy. For one thing. Palazzc 
monte is three hours south of Naples by 
an unspoiled coastal area off most tour 
tracks. But with its handsome rooms, gle 
gardens, elegant swimming pool, and : 
beach, this palace by the sea may well be < 
a detour. Additional attractions include l 
spoiled fishing \illage of Santa Maria di Ca 
bate and the spectacular Greek ruins at I 
turn. Rates range from S200 to S780 thrc 
September 30. S 1 70 to S690 in October. Psl 
zo Belmonte is closed November thro] 
March. Phone (212) 599-8280. 

TWIN FARMS Once the estate of novelist j 
clair Lewis, this 235-acre Vermont farm op 
last fall as one of America's most luxurious ( 
try -house hotels. Ten miles north of Wc 
Twin Farms has nine rooms and suites dh 
among the 1 795 main house and a cluster ol 
tages; all are decorated with fine paintings (1 
las. Hockneys). American folk art. and I 
pean antiques. Summer activities include 
ing. biking, croquet, tennis, fishing, 
canoeing; in u inter, there's skiing and ice 
ing. Rates— which cover all meals, dnnks. 
sports facilities— start at S700 per couple. Pr 
(802) 234-9999. 

LA CASA QUE CANTA Straddling a cliff ir 
beach town of Zihuatanejo, this architect 
intriguing compound of thatch-roofed, re 
ored adobe buildings is Mexico's hottest i 
place to stay. La Casa Que Canta's eight 
suites are beautiful spaces with Mexieai 
ramies, hand-painted furniture, and balcorl 
there are also cozy nooks and crannies for h.{ 
ing out as well as \ arious swimming pools.l 
most dramatic of which is featured in the M 
Ryan-Andy Garcia film. When a Man Lo\\ 
II oman. Below the hotel lies Zihuatanejo's 
beach; farther afield there are opportunitiol 
golf, tennis, horseback riding, waterskiing. 
scuba di\ ing. Summer rates— SI 90 to $281 > I 
in effect through November 14; after that. r| 
are $235 to $360. Phone (800) 5254800. 

' v 



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t health report 

By Isadore Rosenfeld, M.D. 

Ovarian cancer update 

For the past three or four j ears. I have been 
doing routine CA-1 25 blood analyses on my 
healthy patients to detect ovarian cancer in its 
earliest stage. (CA-1 25 is an antigen produced 
by the body in the presence of cancer of the 
ovary.) This malignancy— which 1 in 70 
women will develop and from which more 
than 1 2.000 women die every year in this coun- 
try alone-is often hard to find before it has 
spread. Now a panel of experts convened by 
the National Institutes of Health says that there 
is no evidence that routine testing reduces the 
death rate from this disease, and that it may 
actually result in more harm than good. The 
experts point out that less than 50 percent of 
women with early, stage 1 cancers have ab- 
normal CA-1 25 levels. In addition to false-neg- 
ative tests, the CA-1 25 reading is often false- 
ly positive in such noncancerous conditions 
as endometriosis; various forms of liver dis- 
ease like hepatitis; pregnancy; and even be- 
nign fibroids. A false-positive result can lead 
to unnecessary tests and even surgery in search 
of a cancer that isn't there. Patients can run 
up bills of more than $20,000. all because of 
a misleadi . \-l25. 

If you are not at any special risk for getting 
ovarian cancer ( 1 to 2 percent is the norm), you 
should simply have a pelvic exam every year. 
However, CA-1 25 testing may be appropriate 
if you are postmenopausal and have never had 
a baby (although not all gynecologists agree that 
this constitutes a significant risk); if you have 
t\\ o or more close relatives (mother or sisters) 
with ovarian cancer; or if you have one of the 
three rare hereditary conditions associated with 
an increased incidence of ovarian cancer. Of 
course, the CA-1 25 screen should also be done 
when there are any suspicious findings in the 
physical exam. Depending on his or her index 
of suspicion, your doctor may order a trans- 
vaginal ultrasound too. 

Birth control pills are protective against 
o\ Brian cancer possibly because they suppress 
ovulation. And the longer you use oral con- 
traceptives, the less likely you are to develop 
this cancer. If you've been taking them for two 
years, you will lower your risk by 10 percent: 
after live years, it drops by 50 percent. Tubal 
Sterilization, the most popular form of con- 
traception in the United St ites after the pill, 
also significantly reduces the risk of ovarian 
cancer. In a study of 78,000 | I uisal 

women followed between 1 976 : hose 

who had undergone tubal slerih. fS7 

percent less likely to develop o\ i 

The latest on implants 
and pregnancy 

In the April issue, I reported on two sel 
observations regarding children of mothers 

with silicone breast implants. Doctors at the 
Albert Einstein College of Medicine in New 
York and the University of California at 
Davis found that some of these children de- 
veloped gastrointestinal and joint problems. 
I felt these findings warranted further re- 
search, and in the meantime, I urged preg- 
nant women with silicone implants to think 
seriously about whether they should breast- 
feed their infants. I did not, however, rec- 
ommend that they stop doing so in eyery 
case. Recently Andrew Campbell, M.D., of 
the Center for Immune, Environmental and 
Toxic Disorders in Houston, wrote to me 
about a preliminary study he and an associ- 
ate have completed. They evaluated the 
health of 20 children born to mothers with 
silicone breast implants and found significant 
abnormalities in their immune systems. 
whether they were breast- or bottle-fed. These 
were the findings whether a leak was detect- 
ed or not, suggesting that all silicone implants 
leak to some extent. 

For now. these researchers recommend 
that women with implants refrain from breast- 
feeding their infants. It seems to me, howev- 
er, that the real issue is whether these women 
should become pregnant. The number of in- 
fants studied thus far does not, in Campbell's 
opinion, justify that worry. But given the un- 
certainty, I would advise anyone with breast 
implants to discuss the risks of pregnancy and 
breast-feeding with her doctor. 

Foods for health 

Most of us, doctors and patients alike, were 
surprised at the results of a new study— the 
largest of its kind— showing that supplemen- 
tal beta-carotene and low-dose vitamin E do 
not protect cigarette smokers from lung can- 
cer. Finnish researchers followed 29,000 male 
smokers for five to eight years and found that 
supplements were, in fact, associated w ith an 
18 percent higher incidence of lung cancer. 
1 want to emphasize that it's the supplements 
that were implicated and not the natural 
sources of these antioxidants. Last year a 
study from Yale University School of Med- 
icine evaluated the role of diet in the pre- 
vention of lung cancer in men and women 
who had either never smoked or stopped at 
least ten years before. It indicated that, every- 
thing else being equal (exposure to passive 
smoke, how many cigarettes were formerly 
used, and when the habit was stopped), a diet 
rich in raw fruits and vegetables was associ- 
ated with the lowest incidence of lung cancer 
in nonsmokers. The Yale researchers con- 
cluded that adding an extra one and a half 
i ings of raw fruits and \ egetables a day 
w in i educe your chance of getting lung can- 
cer by 40 percent. (Cancer i the lung kills 

1 53,000 men and women in this cou 
every year. Its incidence is increasing, 
daily in women.) 

On the basis of both sets of data, 1 
for the moment advising my patients tc 
foods rich in beta-carotene (such as b 
coli, cantaloupe, and carrots) but n< 
take supplements. Until other studies 
completed, this seems the most pruc 
course to follow. 

A chemical cause for endometrio 

One of the most toxic of all synthetic cl 
icals. dioxin has long been suspected of c 
ing cancer, birth defects, miscarriage 
fertility, and impaired immunity. Now 
being implicated as a possible cause ol 
dometriosis— a disorder of uterine tissue 
affects about 1 in 10 women and is a i 
factor in infertility. 

Last year a study in Madison, Wisco 
found that 79 percent of female rhesus n 
keys exposed to dioxin developed the 
ease. Other studies support the connect 
German researchers found more cases o 
dometriosis in women with high blood 
els of PCB, a related chemical. More 
cently, female rhesus monkeys expose 
PCBs developed the disease. 

Endometriosis seems to be on the 
especially in younger women. In this dis 
cells from the uterine lining migrate to 
er organs, such as the bowel, ovaries, 
bladder. In their new locale, these cell 
through the same cycle as they would in 
uterus; stimulated by estrogen, they bea 
engorged with blood in the expectatio 
pregnancy and are then shed when 
doesn't occur. The result can be severe < 
cal pain as well as infertility. 

At the moment, dioxin is only guilt 
association with endometriosis. Bu 
cording to one theory, dioxin and related 
lutants act like estrogen, interfering with 
normal balance of hormones and stim 
ing the migrant endometrial cells. Dion 
effect on the immune system may even 
to the migration of uterine cells to other ] 
of the body. 

While lawmakers are trying to figure 
ways to reduce dioxin in the environme 
remains in the food chain. And now M 
lobsters have been found to contain high 
els of the chemical. The Maine Health 
reau is warning all pregnant women, 
ing mothers, and women of childbearing 
not to eat the green mushy liver of the 1 
ster (called tomalley). where the diox 
concentrated, because fetuses and inf 
are at greatest risk of dioxin poisoning 
a warning that, in my opinion, shoul 
heeded by everyone • 



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Recine New York 

The laid-back mood of Bob Recine's. gem- 
ike downtown salon attracts the famous 
and the funky. Step from the street into 
this marble-floored, velvet-cushioned 
"'boutique." and find an earthy fanta- 
sy—complete with homemade hair po- 

The Stephen Knoll Salon 

After years of jet-setting around the globe, tending 
the high-profile manes of everyone from Mick Jagger 
to Iman to Carolyne Roehm, Stephen Knoll now lets his clients 
come to him. The atmosphere at his Madison Avenue salon, de- 
spite its dramatic art-gallery decor (a huge Etruscan urn stands in 
entrance hall), is friendly and relaxed. Knoll's talent for creating both 

tions, incense wafting through the air. 
and Ella Fitzgerald crooning in the 
background. Often at work on 
magazine shoots, owner Bob 
Recine leaves his hip, highly 
trained staff to flaunt their ex- 
pertise. See Laurie Jones for a 
great cut; Armando for vibrant 
color; anyone for a stylish 
chignon. (One evening-out 
plus the salon's 8:00 p.m. clos- 
ing time.) A house specialty: 
Recine's deep-conditioning 
treatment. Seated before a huge 
gilt-framed mirror on an antique 
leopard-covered chair, you'll feel well 
pampered as your locks are painted 
with a fragrant mixture of essential oils, 
herbs, and fresh-cut rose petals. The 
coup de grace: an ostrich-feather heat- 
ing cap. (Jaye Davidson visits weekly 
for this diva-worthy tress treat.) Though 
you can't quite bottle the effect, the sa- 
lon-made products are available for pur- 
chase, as are customized "prescription" 
tonics. Address: 266 West Twenty-sec- 
ond Street; phone: (2 1 2) 727-8464. Cut: 
$55-5150. Color: S60-S220. 

Louis Licari Color Group 

For those not too keen on showing 
their true colors, Louis Licari is the man 
to see. A top-rate colorist as famous in 
lus own right as many of the women he 
works on (he keeps Kim Basinger and 
Ellen Barkin beautifully blond, Susan 
Sarandon radiantly red), the bicoastal 
Licari is difficult to catch as he jets be- 
tween his sleek salons in New "> ork and 
Beverly Hills. It ma> take several 

months to get in his chair, but it's \ "' V. 

worth the wait for his expert techni< 
Look for him six daj s a week bctv. t wo loca- 

tions. Then this hardworking channel lay of 

rest. Address: 797 Madison Avenue: phon (212)517- 
8084. Cut: S125-S400. Color: $75-5400. 



Marianne Strokirk 

Chicago's fashion-conscious crowd flocks to.this high- 
tech, loftlike salon. The stylish Strokirk specializes 
in clean-lined cuts but also in festive updos; she 
has a vast collection of real and faux hairpieces in 
myriad colors and lengths. (When Giorgio Ar- 
mani staged a runway show at his Chicago boutique a 
year ago, he hired Strokirk to re-create the elaborate pin- 
curled coifs he had originally shown in Milan.) Master 
stylist Andre Walker has gained local fame for tending 
both Oprah Winfrey's and Halle 
Berry's tresses and is the Windy 
City's undisputed specialist in 
African-American hair. Offering 
proof of the five-year-old salon's 
continuing popularity: Strokirk has 
just opened a second salon on chic 
Oak Street, a few doors down from 
the new Jil Sander boutique. Ad- 
dress: 361 West Chestnut; phone: 
(312) 944-4428. Cut: $45-$80. Col- 
or: $40-$ 150. 


Some Like It Hot 

No stay in Miami could be considered complete without 
a day of indulgence at Nikki Mallon's oasis-like salon/spa 
on South Beach's burgeoning Lincoln Road. With its 
tropical rattan couches, sponged-green walls, and bevy 
of potted plants (it's so kitschy and colorful that maga- 
zines sometimes ask to shoot there), you'll feel like a true 
Floridian as London-trained colorist Mallon and her 
team of twelve work their magic. A favorite among mod- 
els, actors (Sharon Stone, while in town shooting The 
Specialist, got weekly manicures and pedicures), fashion 
editors, and rock stars (U2 and REM members occa- 
sionally stop by), the Aveda-stocked salon takes a nat- 
ural, just-off-the-beach approach to hair. See Robert Stan- 
ley for a chic short cut: John Nieto is a wiz with longer 
locks. And for a real treat try the popular Afternoon De- 
light package: a massage, facial, manicure, aromather- 
apy footbath, scalp-conditioning treat- 
ment, blow-dry, and makeup ap- 
plication, all for the unheard-of price 
of $150. Address: 630 Lincoln 
Road: phone: (305) 538-7544. Cut: 
$40-$50. Color: $55-$ 150. 

ural looks and all-out glamorous uj 
has earned him cultlike status amonj. 
ulars (especially social New Yorkers 
stop in for a preparty fix). Bring in a 1 
piece— or choose one from the sal 
custom-made selection— and Knoll 
shape and style it to your specificati< 
Further indulgence can be found in 
thetician Simi Fazeli's individually bl 
ed plant-extract facials. (There's be; 
in the details, too: This politically cor 
salon boasts a wheelchair-accessible b 
room and, for chemotherapy patie 
visiting royalty, or anyone else \ 
prefers it, there's a private room a> 
able for styling.) Address: 625 Madi 
Avenue; phone: (212)421-0100. ( 
$85-$250. Color: $75-$275. 

Peter Coppola Salon 

Open for just a year and a half. Pi' 
Coppola may be the new kid on 
block, but a booming business sugg 
otherwise. (Some weekends were so t 
they'd run out of hot water and to* 
Solving the space squeeze, the salon 
just moved to a location double the 
further up Madison. Coppola himsc 
great with short hair, but you'll n< 
book an appointment between Tu< 
and Thursday— the only days he's n 
Boca Raton, home to his soon-to- 
opened salon. Celebrities, socialites, ; 
stylish Upper East Siders entrust tl 
locks to his qualified cutting staff- 
eluding creative director Oscar Bla 
(known for inspiring trust), editorial 
Kevin Mancuso (in the salon on< 
week), and up-and-comer River LI 
(a favorite among fashion insiders). 1 
ping the charts for color is Sharon D 
ram (she recently gave Meg Ryan p 
inum tresses for her new film, IQ). wl 
Renee Patronik's star is rising amc 
the young-and-trendy crowd. Addn 
746 Madison Avenue; phone: (2 1 2) 7 
7770. Cut: $80-$250. Color: $65-$2 


Art Luna 

Art Luna works alone out of the cozy be 

room of a larger Beverly Hills salon. 

tin\ salon within a salon affords celel 

ty clients like Kelly Lynch and Lau 

Hutton— as well as those who've sim 

had it with hustle and bustle— the utmost in 
privacy; visitors can even slip in through a se- ■ 
eluded side-door entrance. Luna is known 
around town as "the color fixer"— he's famous 
for correcting lesser colorists' mistakes— but he's also a 
creator, admired for his signature "not too far from nat- 
ural" hues and skillful cuts. Address: 9032 Burton Way 
phone: (310) 247-1833. Cut: 
$85-5125. Color: $9O-$200. 

Ronnie Romoff at Studio 

Like Art Luna, Romoff is strictly a one- 
room one-man show; his spartan studio 
is equipped with one sink, a single Eames 
chair (for you), and a chrome stool (for 
him). In this low-key setting, loyal clients like 
Raquel Welch, Jane Fonda, and, notably, 
a posse of Hollywood's most powerful male 
players (Harrison Ford, Sydney Pollack, 
Michael Douglas) appreciate receiving his 
undivided attention. (That attention requires 
booking at least a month in advance and 
comes with a price tag starting at $300 for 
women; $250 for men.) Romoff, who uses and sells Kiehl's products from 
the historic Manhattan pharmacy, does cuts only. Address: 1615M Mon- 
tana Avenue, Santa Monica; phone: (3 1 0) 394-2673. 


Forget about Bill Clinton's notorious $200 airport-runway shearing; 
Cristophe's real claim to fame is the way he makes all his clients— not just 
Nastassia Kinski and Goldie Hawn^ook ultrasexy with his soft, wispy 
cuts. Although he's a man of few words, clients adore long- 
haired Cristophe for his warmth and charm. His salon 
caters to both Hollywood starlets (who flock to colorist 

Lori Goddard for a process called smudging, which creates sun-kissed 
highlights) and to cellular-phone-toting movie executives whom Cristophe 
accommodates by starting as early as 7:30 a.m. Cristophe. v, ho recendv 
opened a salon in Washington, D.C., is unveiling L.A.'s first color and 
treatment center shortly and is also planning a salon in St. Baits, a 

vorite spot for working on his signature deep tan. Address: 348 Noi 
, Beverly Drive; phone: (310) 2740851 . Cut: $50-$250. Color. $65-$200 



At Estilo (Spanish for "style"), you're as likely to spot a club kic 
getting dreadlocks as stars like Geena Davis, Jennifer Jason Leig 
and Patricia Arquette getting more conservative— but still hir. 
coifs. The owners divide their time between the Art Decc 
spired four-year-old salon and movie sets, as does the rest of 
the staff; all the stylists are independent contractors whose) 
work on fashion shoots lends the salon a distinctly up-to-the 
minute mood. Located on trendy Beverly Boulevard nearl 
the Tyler Trafficante boutique, the salon draws a young,! 
stylish crowd who love Estilo's structured— but not stuffy- 
hairstyles. Address: 7402 Beverly Boulevard; phone: (213)f 
936-6775. Cut: $45-$70. Color: $45-$120. 


In a town known for over-the-top glitz, Yuki is a breath of fresh air. 
Lichtenstein paintings hang on the walls in this cozy, paisley-accented, 
antique-filled salon where those seeking un-Hollywood hair (Chynna 
Phillips, Anjelica Huston, Helmut Newton) feel right at home. In an 
atmosphere that's quiet and soothing, clients receive a full range of ser- 
vices— from acupressure pedicures to electrolysis to total-body Shiatsu 
massage. Yuki himself specializes in color (he kept Lucille Ball's locks 
flaming red); Koji offers sleek, sophisticated cuts in record time; Yoshi 
is a master of straight, clean bobs; and Don is the one to see 
for California-blond highlights. Address: 8640 Sunset Boule- 
vard; phone: (310) 652-7474. Cut: S50. Color: $50 and up. 

Mario Russo 

Boston's answer to Frederic Fekkai, Mario Russo's sa- 
lon is famous for its modern, low-maintenance hair- 
styles and impeccable service. A star at precision cut- 
ting, the ever-polite Russo won't shy away from coun- 
seling a customer if the look she has in mind doesn't 
seem suitable. (Clients as diverse as Bonnie Raitt and 
Lee Radziwill Ross appreciate his honesty.) Nestled next 
to the Ritz-Carlton on posh Newbury Street, the salon entices shoppers 
and gallerygoers with its soft lighting, classical design, and host of pam- 
pering treatments. Try a de-stressing, conditioning hair and scalp mas- 
sage and get the added benefit of top-of-the-line products by Kiehl's 
and Phytologje. For corrective color— or just brightening— see special- 
ists Helen Pesce and Heidi Holmander. A testament to the salon's en- 
during appeal: A second location is just a block away at Louis, Boston, 
where in-between-appointment time can be spent shopping for labels 
like Romeo Gigli and Norma Kamali. Address: 9 Newbury Street; 
phone: (617) 424-6676. Cut: $40-$ 100. Color: $45-$ 130. 


Perry Henderson 

Perry Henderson is known as the "big hair man" of Texas, and 
his swanky salon (lots of antiques and mirrors) 
is one of the area's most expensive and exclu- 
sive. While Dallas's tireless philanthropic so- 
cialites—ever on the charity-ball circuit— do 

depend on Henderson for his impressive evening 
updos (his handiwork is frequently featured on those 
who make Dallas's annual Ten Best-Dressed list), the 
salon also specializes in classic, all-one-length blunt 
cuts for workday wear. Henderson reports that blond 
is still, as ever, the color of choice in the Lone Star 
State; out-of-towners even make pilgrimages to his 
door for true Texas highlights. Address: 3878 Oak 
Lawn, suite 100A; phone: (214) 522-2870. Cut: $40-$80. 
Color: S50-$250. 


Roche Salon 

If you think you won't find fashion in conservative Washington, 
think again. Roche's stylish staff are about as hip as they come 
(you'll glimpse thigh-high stockings and lots of black), and their ap- 
proach to hair is just as progressive. This full-service salon prides 
itself on generating ideas and developing new techniques at month- 
ly think-tank sessions. One example: The waif shag wasn't yet his- 
tory when Roche began offering a stronger, updated version of the 
look. Top-notch cuts, technologically advanced coloring process- 
es, and Anasazi scalp massages keep local professionals, diplomats, 
and George Stephanopoulos coming back; custom-blended ARTec 
shampoos and paraffin hand treatments are just two of the luxuri- 
ous extras. Proving the formula works: Another Roche is on the 
horizon. Address: 2445 M Street, NW; phone: (202) 775-0775. Cut: 
$45-$60. Color: $40-$ 150. • VOGUE BEAUTYM00 


hoeauty answers 


getting golden 

This summer's new self-tanners make exposing even 
the most sun-shy skin a "bareable"- and safe- move 

Despite skin cancer warnings and the risk 
of premature aging, few women yearn 
to be the fairest of them all particular- 
I) since microshort skirts are marching all over 
the runways without a stocking in sight. Thanks 
to new high-performance self-tanners, howev- 
er, bronzed skin doesn't have to be unhealthy 
or look like a ripe papaya Technology has made 
self-tanning the smart alternative to scalding in 
the Min. with truer color (and sweeter smells) 
among the advances. 

In the past self-tanners were an aesthetic 
nightmare. Not only did their contact with the 
skin produce an awful odor, but they also ga\ e 
main people an unnatural orange cast. In ad- 
dition, these products tended to irritate sensi- 
ti\e skin, produce streaks, and drj slowly, with 
color taking as long as 24 hours to develop. 
Hardly the stuff of cosmetic dreams. 

The latest generation of self-tanners, how- 
ever, dark. . -kin realistically, producing gold- 
en browns that even Brigitte Bardot would ap- 
prove of. Far superior to their predecessors. 

they are tailored for use on either the face or 
the body and on complexions ranging from 
very fair to olive. (Lancome's new Personal- 
ized Face Self-Tanning Creme is customized 
tor fair and dark skin tones. ) Researchers have 
also developed sophisticated delivery systems 
such as water-in-silicone emulsions that spread 
evenly lor swifter, more uniform color devel- 
opment and quick drying. Designed to be part 
of a regular skin-care routine, self-tanners now 
dry in as little as fifteen minutes. 

Some of the new crop even contain SPF and 
can be worn in the sun. Among them: Princess 
Marcella Borghese's Solare Superiore Suncare 
SPF 1 5. Emo Laszlo's Self Tanning Lotion SPF 
8. and Bain de SoleiTs SPF + Color Sunscreen 
& Self-Tanner, the first self-tanning product with 
SPF 30 for maximum protection. And. although 
these tanners are good moisturizers, wearers w ill 
never be too slick to keep their bikini strings 
tied: Several, including Ginique's Sell-Tanning 
Lotion for the Face. Chanel's Perfect Colour 
Self-Tanning Spray, and Lancome's Fast-Ac- 

Summer's safest tan comes in a tube. 

tion Self-Tanning Spray, are oil-free. 

These new self-tanners are also availat 
formulas other than basic lotions. They I 
come in lightweight gels (Clarins" Self Tanl 
Gel and Shiseido's Self-Tanning Moisturil 
Gel ): mousses ( Lancome's Moisture-Active | 
Tanning Mousse): and convenient spray s ( 
trogenas Glow Sunless Tanning Spray ['oi 
Body and Ultima lis Sexxxy Legs and Body| 
Tanner) for hard-to-reach spots. Still other 
ture treatment benefits: Shiseido. Chanel. 
Clarins include plant extracts such as aj 
chamomile, and white lily to hydrate and : 
skin. And putting alpha hydroxy acids to ye 
other cosmetic use. Estee Lauder has inch 
them in its Self-Action SuperTan for Face | 
in Origins Summer Vacation. The ever-ver 
alpha hydroxy acids balance the skin's pH I 
which promotes a more natural-looking ti 

And. for those who believe there's alvi 
a catch, the news from the scientific fronj 
sures that these tanning products are per 
ly safe. Their principal ingredient, dilr 
acetone (DH A), is a relatively uncomplicd 
molecule, similar to sugar, that received Fj 
approv al for use as a food colorant long .1 
Therefore like it or not we've probflj 
ingesting DHA for years. "DHA is a color 
powder that reacts in the skin's superficial 
er w ith proteins and amino acids to cau | 
brow nish color." explains Stanley B. L<. 
Ml). Rev Ion's director of medical affairs. I 
"tan"' lasts an average of three to five days.l 
til the skin naturally exfoliates it. But. mostl 
portant, this doesn't mean you can skip i\ 
screen: DHA does not stimulate the proc| 
tion of melanin (the pigment that g 
color) or provide sun protection. 

It appears, though, that the best news i 
to come. Says Daniel Maes. Ph.D 
er's \ ice president of research and developr 
"Tanners of the future will be faster, darker, 
ler." Our golden years just might be golden 









By Wendy Schmi 


In the SWim For bathing beauties who can't 
bear to rise from the depths with a naked face. 
above, Estee Lauder's new Maximum Cover 
Lightweight Makeup may be the perfect catch. 
Originally intended for women with something to 
hide— from acne scars to serious skin discol- 
orations— the SPF-rich base has found a larger au- 
dience. Tested on synchronized swimmers, balleri- 
nas, and opera singers (and endorsed by dermatol- 
ogists and facial surgeons across the country), this 
waterproof, perspiration-proof, long-lasting formu- 
lation is a boon for all those who want coverage that 
stays put no matter what the conditions. 

M.A.C. attack Models, 
makeup artists, and other 
trendsetters flock to 
Manhattan's M.A.C. shop for 
founder Frank Toskan's high- 
performance cosmetics. (Linda 
Evangelista likes to claim she 
discovered them; k.d. lang 
once said, ' I hate makeup, but 
I love M.A.C) Now the 
company is taking its state-of- 
the-art approach Into hair 
care— a natural move for 
Toskan, who began his career 
as both a makeup artist and 
hairstylist. The line, also 
available at Henri Bendel. 
includes shampoo, conditioner, 
and styling products, above. On 
the horizon: more specialized 
tress treatments and, 
eventually, a line of body-care 
products. (Call 800/387-6707 
to order.) 

Role model As the first African- 
American model to appear on the cover 
of Vogue, Beverly Johnson is used to set- 
ting precedents. In her new book. True 
Beauty: Secrets of Radiant Beauty for 
Women of Every Age and Cobr (Warner 
Books), she addresses the specific— and oft- 
neglected— beauty needs of ethnic women, 
sharing tips on everything from skin care 
to nutrition while offering hair and make- 
up tricks of the trade, all culled from 20- 
some years of behind-the-scenes experi- 
ence. Handpicked by Donna Karan to 

The sophisticated shag 

As the gaunt, washed-out face of 
waifdom gives way to a more glamoro 
grown-up image, hairdressers are 
updating the popular pixie cut of the I 
few seasons, top left, with a new take 
the shag. Says stylist Odile Gilbert, wl 
gave long-locked model Helena 
Christensen. above right, her sleek nev 
coif (and lighter color): "The old shag 
too much of a wispy, poor-little-girl sty 
for today's womanly look. Now the hai 
softer, fuller, and flipped-up at the enc 
with a longer bang for a sexier, less 
caplike effect." Others who consider t 
style a cut above: Ellen Barkin. top rig 
who showed off her version at Todd 
Oldham's fall show, and model Yasme 
Ghauri, above left, who Yannick d'ls 
recently snipped into shape. 

model her fall collection ("a celebration of 

women and personal style"). Johnson recently returned to the runway, LHT, join- 
ing the usual cast of teenage girls, as well as such classic beauties as Isabella Rossefli- 
ni. Patti Hansen, and Veruschka. Says Karan. "I wanted Beveriy because she has 
a real presence-you notice her and then the clothes. She stands out." Indeed 

French leSSOnS Francophiles take note: This month from the seventh to the twenty-third, in hon- 
or of both Independence Day (July 4) and Bastille Day (July 1 4 ). Lancome offers its famous French-bread 
celebration. With any S 1 7.50 purchase, customers receive samples of the brand-new. best-selling Bienfait 
Total, Definicils High Definition Mascara. Rouge Absolu Hydrating Long Lasting LipColour. Tresor Per- 
fumed Body Lotion, and a freshly baked baguette (available at select Lancome counters across the coun- 
try and in New York at Bloomingdale's). Bon appetit VOGUE BEAUTY ^105 


Skin Protection 

5 "iNc 

kin Perfection 



N E W Y O R K 


Three breakthrough products Tor total >kin perfection 

Available at Bloominedale s. Nonls 

Neinian \la 



Rifat Ozbek 


p> '' 



L. ^ 



Gianni Versace 

foot notes 

Summer's strappy high 

heels and bare thong sandals 

are putting feet on display — and | 

making colorful polish one of the] 

season's sexiest details! 

Think of it as the trickle-down effect of fashion's glamorous new look. After seasons 
of clunky-heeled boots and scuffed-up sneakers, feet are back from obscurity and get- 
ting a bold dose of exposure. On spring runways, pretty polished toes dressed up the barest 
of sandals, from Versace's lacy lavender slides to Chanel's sexy "glass slippers." At his fall show, Rifat Ozbek 
went a whimsical step further, skipping the shoes altogether and giving models' feet a rich Midas touch with 
a coating of gold. For more traditional paint jobs, the latest nail enamels lend a quick hit of color— from 
bright pink to soft beige to this summer's favorite, red. To get toes in top form, Manhattan's Gil Gamlieli 
salon offers exotic herbal pedicures that are a treat for the senses as well as the feet. And for tired soles, Fit 
Feet, a cool mint-infused cream from Systeme Biolage Body by Matrix Essentials, soothes and invigorates— 
something to remember when stilettos kick in this fall— wendy schmid 
Paint by numbers: 1. Yves Saint Laurent Nail Lacquer #9. 2. L'Oreal Nail Enamel In Red Robin. 
3. Sally Hansen Hard As Nails in In the Red. 4. Clinique Glossy Nail Enamel in Jewel. 5. Elizabeth Arden 
Nallcolor Neutrals in Red. 6. Clarins Nail Colour in Cherry. 7. Guerlain Nail Polish In Coquellcot. 
8. Lancaster Creme Nail Color in Volcan. 9. Maybelline Revitalizing Nail Color in Indulgent Red. 
10. Cover Girl NailSlicks in Peek-A-Boo Pink. 11. Estee Lauder Perfect Finish Nail Lacquer in Sheer 
White. 12. Shlseido Nail Lacquer II In Transparent Ivory. 13. Chanel Creme Nail Polish In Pink 
Flame. 14. Givenchy Nail Lacquer in Rose Pink. 15. Lancome Vernis Absolu Nail Lacquer In Rose 
Torrlde. 16. Cutex Strong Nail In Meloncholly. 17. Revlon Nail Enamel In Cherries 
in the Snow. 18. Princess Marcella Borghese Prottetlvo-Protectlve Nail Lacquer In Red Aida. 


Hair . . . 

hair that is free'flowing . . . like the sea. 

Living in harmony with light; dancing in its shadows 

Fit, vibrant hair . . . nourished and cared for 

by the elements of our Earth. 

This ... is Paul M'tchell hair. 






Z a 

9 t 

» 3 



Cnlvin Klei 

p a r f ? m 


Vogue's Point of View 


ashion, like politics, runs in cycles. And just as a new government is ushered in every four 

> eight years, so the course of fashion alters at semiregular intervals. Consider this, then, 
n election year in the fashion world — one in which a new party has arrived with a new 
latform. What this era is all about: Color. Shine. Texture. New skirt lengths, both super- 
lorl and to the knee. A more structured, womanly silhouette. 

But this sort of change does not come quietly, and the cutting-edge designers who introduce 
rovocative ideas are often simultaneously lauded and ridiculed. Think back to Yves Saint 
aurent's 1971 Carmen Miranda collection of "happy hooker'-style dyed fur coats worn with 
range panty hose and garish red lips. His brand of tacky chic left most of the press and public 
orror-struck, but it proved influential, as colorful chubbies and ankle -strapped platform 
iocs found their way into the mainstream. Likewise, Karl Lagerfeld caused a commotion 
iree years ago when he elevated street fashion to the couture level, sending his models down 
le runway wearing biker jackets over ball gowns and heavy metal medallions with their 
hanel suits. Such extreme looks may shock, but they eventually adjust the eye to a new 
roportion. The same theory applies to the shift that's taking place now. Whether or not you 
ke it at first glance, it will influence what you'll be wearing in the coming months. 

It's about time for a change -both in style and in attitude. Clothes have been a bit of a 
:m tier lately, reflecting a pretty gloomy world situation. In fact, the last time we saw fashion 
ke a really upbeat turn was in 1986, when Christian Lacroix's lighthearted pouf dresses first 
lew into Paris and lifted the spirits of legions of power- suited women. But if fun then meant 
l-out extravagance, fun now means glamour with a bit of wit. It's an attitude embodied by 
le peroxide-blond model-of-the-moment, Nadja, not Ivana Trump. It means the shine of 
ituristic synthetic fabrics, not the glitz of real gold embroidery. 

But as amusing as the new looks may be, who, women may cry, is actually going to show 
p for work in a fake-fur suit? Most likely only a few models and doyennes of downtown, but 

> think of it that way is to miss the point. "Our job as designers is to push these ideas to their 
mits and show them in an extreme way," explains Marc Jacobs, whose collection features 
aleidoscopic clashes of color. "It's the individual's job to pick one or two of these ideas and 
ear them in a way that works for her lifestyle." Rather than head-to-toe fluff, try fake-fur - 
immed gloves or a jacket. Or a single shot of color to liven up last season's blacks and beiges. 

Even those who hold fast to their serious styles will inevitably be affected by the change 
lat's in the air. Their suits and dresses will take on shapelier lines, their heels will get 
igher. "The current upswing in fashion represents a need for glamour and sexiness," sums 

np John Galliano. "After hiding behind deconstructed clothes, women are once again rejoicing 
I the enjoyment of dressing up." 


re L 






V in. 


It's Frida) night ;it the C ale du Flore, and a group of chic 
young Parisians are whooping it up at a table in the corner. 
The) look like the) just ripped off a raja, all decked out in hot 
pink saris, silver rings, curl) wigs, and makeshift turquoise 
towel turbans dripping with dime-store jewels. They're talking on 
mobile phones, they're greeting familiar waiters, they're gearing 
up for Clan Campbell's annual ra\ dike parts . the Night of Clans. 
And e\ erv bod) else in the joint is staring them dow n not because 
of their fake mustaches, but because the) re having /if//. 

They are having a ball. too. down the street at John C ralliano's 
small fashion show . in a decrepit mansion where K. e Moss and 

I .inda Evangelista are strutting around in tiny teddies and geishi 
makeup while Beatrice de Rothschild takes it all in from a dust) 
di\ an. With horses whinnying on the sound track. Galliano's part 
1 l )4()s. part -Shanghai Lil fashion folly unfolds like this: The hero 
ine du jour, just back from her husband's funeral, slams the dooi 
on disma) and decides to live life to the fullest. 

And who can blame Galliano's mythical character? Whc 
wouldn't prefer to dress up in a turquoise turban or a bubbleguu 
pin Shanghai Lil kimono rather than slip back into the recent 
blac hole of deconstruction? Or. as one designer said of the i 
word. "'s just take the swearword out of fashion." 


me ran collections yieiaea more 

than for-the-runway-only frolics this time, 

as designers let loose with 

upbeat color, a wild variety of textures, 
and forward-looking technofabrics that 
shimmy and shine. Catherine Betts captures 
the new mood of sexiness and fun 

Jean Paul Gaultier 


Isaac Mizrahi 

Marc Jacobs 

Photographer: Roxanne Lowit 

Jean Paul Gaultier 







Inspired by everything 
from Eskimo culture 
to last winter's record- 
breaking cold, 
designers create their 
ultimate fluff pieces 
out of fake fur. left to 
right Anna Sui's 
sixties-inspired fake- 
fur-trimmed peacoat 
and matching cotton- 
ball cap; Jean Paul 
Gaultier's "Nanook of 
the North" jacquard 
knit cardigan with a 
fake-fur hood over 
matching pants; and 
Karl Lagerfeld's fuzzy 
neon-bright Chanel 
suits. Details, see In 
This Issue. 

Everywhere you looked at the fall collections, designers 
were taking the swearword out of and putting the punch back 
into fashion. They were slicing the silhouette back into one of 
sexy feminine confidence, pumping up the palette with high- 
voltage colors, and plugging into the bold, unpredictable style 
of a high-tech generation. All this against the backdrop of run- 
way pyrotechnics like flickering-candle headpieces, edible 
hats, glittering diamonds, and spiky dominatrix stilettos. 

"It's about freedom and fun after gloomy years in a gloomy 
world," said Karl Lagerfeld, who made his own fun by stitch- 
ing up Chanel's classic suits in neon-bright synthetic fur. And 
as if that weren't enough, he took a jab at director Robert Alt- 
man's overexposed fashion flick, Pret-a-Porter, staging his own 
cinema verite version right on the runway with a director's 
chair, a mock movie camera, klieg lights, and one big red quilt- 
ed Chanel bag— a wink at the fashion critic who dared de- 
nounce the Chanel bag as "over." (Now, in fact, it comes in 
twos: a baby Chanel bag hooked onto the mama Chanel bag.) 
"It's about time people stopped taking fashion so serious- 
ly," said Anna Sui, who has never taken it too seriously. But 
this time she went all out, with a mockery of the "chic" arti- 
fice of the disco-crazy 1970s, including pink shearling jackets, 
electric orange vinyl dresses, and matching Lurex turbans. 
"Back then women looked amazing, but it wasn't just about 
clothes. It was a package— the accessories, the makeup, the 
shoes. What's great now is to remake those sleek seventies 
shapes in modern fabrics like Lycra, which gives them the 
nineties ease. What's really great now is the technology." 

Technology was everywhere— you could see it, you could 
feel it, you could hear it. At almost every show, telephones 
were ringing off the hook on sound tracks (Gaultier aired a 
multilingual conversation between an international operator 
and a globe-trotter who'd lost his passport), models were qui- 
etly kvetching backstage on mobile phones, and front-row 
journalists were clickety-clacking away on their very visible 
PowerBooks. Lagerfeld even tried his hand at interactive fash- 
ion, sending the French cellular phone— Le Bi-Bop— down the 
Chanel runway encased in cabochons and trimming his Fen- 
di furs in spirals of telephone cord. 

This fascination with the future showed up in the clothes, 
too. Fabrics you'd never dream of wearing— neoprene, latex, 
Lurex, and ripstop nylon— were nonchalantly cut into 
sexy/sleazy corsets, shift dresses, T-shirts, and traditional suits. 
As an ode to the supermodels who appeared in his show, Chris- 
tian Lacroix photoprinted their images onto gaudy gold Lurex 
bodysuits. And Sylvia Heisel explained that her fluorescent 
nylon coats absorb ultraviolet rays. Even Giorgio Armani 
went off gabardine and washed silk for a few seconds to dab- 
ble in illusion— that see-through, netlike stuff most common- 
ly used for ice-skating costumes. 

Like Jean Paul Gaultier, Armani was probably on-line with 
Lillehammer, looking for inspiration from the frosty winter 
Olympics. "All we hear about is how cold it is in America, and 
so I do a collection dedicated to northern climates," said a 
laughing Gaultier, whose trans-Siberian show of satin kimono 
coats, faux-leopard-skin leggings, and hand-painted shearling 
tunics even featured noxious fake snow— a detail that left most 
people, including Icelandic pop singer Bjork, gasping for air. 
When they're through with their Chanel, Gaultier, Sui, and 
Isaac Mizrahi orders, the fake-fur manufacturers will proba- 
bly be gasping for air, too (word has it that the French facto- 
ries can't produce the stuff fast enough). Everything got fuzzy, 
from Todd Oldham's fur-trimmed entrance-makers to Lager- 

' L 




fl M 

Giorgio Armani 

Ralph Lauren 


Hot on the flying shirttails of last year, a stri. sr silhouette 
is emerging, as designers top short skirts and slim pants 
with impeccably tailored jackets, left to r. hr Ralph 
Lauren's fitted plaid mohair jacket; Giorgio i mani's fluid 
double-breasted jacket and slim pants; Richard Tyler's pin- 
striped jacket and tapered trousers for Anne Klein; 
Prada's 1940s-style cropped, double-faced cashmere 
jacket over a knit dress; Richard Tyler's long pin-striped 
jacket and miniskirt. Details, see In This Issue. 

Anne Klein 






Richard Tyler 


The season's best coats 
follow relaxed, easy lines— 
from short princess- 
seamed styles to soft 
cropped shearlings, left to 
right: Calvin Klein's simple, 
to-the-knee wool-and- 
cashmere coat; Bill Blass's 
gently fitted Donegal 
tweed princess coat; Isaac 
Mizrahi's short shearling 
"igloo" jacket; and Donna 
Karan's shrugged-on 
shearling "clutch coat.'' 
Details, see In This Issue 




Isaac Mizrahi 


Donna Karan 



fold's long, scraggly white ice-maiden coats at Chloe to Vivienne 
Westwood's outrageous "■chinchilla" wrap with matching G- 
string. And when the fluff wasn't take fur. it was Ralph Lauren's 
tailored plaid mohair jacket or Michael Kors's weightless deep- 
pile alpaca wrap coat or. in the case of Fendi, fake mixed with 
real fur sometimes together in one sw eeping coat. 

Thanks to modern technology, even what wasn't fake was made 
to look that w ay . Gianni Versace's "technosexy " Barbarella dress- 
es looked like \ inyl, but they were actual!) varnished silk. And 
backstage at Helmut Lang's show, the designer was worried that 
nobody would belie\e his fabrics weren't synthetic. "Tell them it's 
silk." he insisted as he wrapped a piece of what looked like red- 
and-black Saran Wrap around the torso of his cybermuse. Nad- 
ja Auermann. "They think it's plastic, but it's actually very chic." 

The more plastic-looking, the better." contested Mizrahi. 
whose show, a veritable theatrical production, featured a see- 
through scrim behind the runway that allowed the audience the 
voyeuristic thrill of watching Cindy. Naomi, and Linda undress. 
The whole thing has to do with being slightly naughty, and that's 
what these clothes are about." he added, explaining away his 
turquoise fake-fur chubbies, lemon yellow tulle ballerina skirts, 
and Pez pink mohair A-line dresses. "It used to be that wearing 
black was w itchy and naught) , but now it's so obvious. Now col- 
or is really the provocative thing. Yes. the tables have turned." 

In fact, the whole fashion system has gone topsy-turvy. In a 
strange flip-flop of aesthetics (and as if they couldn't stand the sight 
e more slip dress), the a\ ant-garde have taken the high road 
utting curves and a classic cut back into their clothes. West- 
wood, now the hero of the Paris avant-garde, made the strongest 
pilch for curves with the exaggerated bustle-like "cushions" she 
built into the backsides of slinky suits. "This is what I call the new 
power dressing." she said cheerily as she sipped champagne be- 
tween shows. Although the) looked outrageous, ridiculous, and 
fabulous!) feminine, the supermodels-teetering on spiky heels and 
balancing big bums while holding it all in under corsets— looked 
like the> were lo\ ing this sexpot stufF(Westwood is hot on the heels 
o[' Prada as the label of choice for off-duty supermodels). West- 
wood's point although badly taken by some— was to show that 
curves, and the shape of a woman, have been missing in fashion. 

"Before 1 left the fashion world a year ago. ever) thing was so 
long and droopy ." recalled Marc Jacobs, w ho. in his first collec- 
tion since he left Perry Ellis in the spring o\' 1993, drew heavily 
on the sharp tailoring and aggressi\e sexiness of the late seven- 
lies. "It's ume to go back to chic, dressed-up clothes. To me they 
seem younger and fresher and sexier for right now." 

Like Westwood and the rest of the avant-garde, Jacobs em- 
braced the future w ith clothes made of funky fabrics Lurex- 
flecked lair Isle sweaters, latex trench coats, colorful shearling 
ackets but kept a keen eye on shapes of the past, specifically 
those of Yves Saint Laurent Although the old master himself 
clearly doesn't care anymore, his legacy lives on. Everywhere you 
looked there was a Gu) Bourdin-esque image of Saint Laurent 
siy le coming to life from the thigh-skimming black tunics at 
Anna Molinan Blumarme to 1 ang's taut tuxedos and Jacobs's 
black net veils. Sui even i d toa minute of preshow panic- 

as she scoured the mai I ,-t I >i the quintessential seventies lip- 
stick Saint Laurent - I ! lete the glossy picture. 

The oldest tnck in the b >ne of Saint Laurent's fa- 

vorites in his heyday lis top e strictly tailored look of the 

1940s. Martin Margiela of a . i emade an exact pattern 

ol'a 1940s suit, but nobody saw u ause bad boy Margiela re- 
fused to show his collection to the lore it hits the slores 
m September. Pretentious as it sounds, the idea make some sense. 

Susan Sarandon and Julia 
Roberts blaze a trail through 
the paparazzi at Todd 

"We feel like there's something wrong with the S) stem." he 
plained to a cluster of editors who'd been summoned to his cl 
lc-like show room. •"We think the clothes should be available to the 
customer at the same moment that they appear in the press." 

Margiela isn't the only one concerned with his very confused cus- 
tomer. For the first time in a long time, designers were really thinking 
about the women who buy their clothes. You could just imagine them 
looking at last season's endless rows of markdown racks and scratch- 
ing dieir heads. 'It's almost like the designers looked into women's 
closets to see what was missing and then gave them everything they 
didn't have," explained Kalman Ruttenstein. the fashion director of 
Bloomingdale's. ""One tiling that's not so hard to figure out is that the) 
don't need any more basics. Nowadays it has to be an emotional buy. 
Clothes are like lollipops— you see one and you can't resist it." 

"People are asking why sales are so bad. Well, the quality is 
terrible!" exclaimed Richard Tyler, whose beautifully made, 
clean-cut jackets have become his forte in both his signature col- 
lection and his collection for Anne Klein. "When we first start- 
ed, people said. "Don't worry about quality: Americans don't 
appreciate it." But women know quality. They look at the but- 
tonholes to see if they're real, they look under the collars of jack- 
ets to make sure they're faced." 

""For two years women have been desperately missing quality 
and clothes that are uplifting, no question." agreed Kors. who cer- 
tainly tried to give them what he thought they wanted w ith a col- 
lection of short, sexy A-line alpaca suits, pastel cashmere T-shirts, 
and perfect poplin trench coats. "Women want color, they want 
to look youthful w ithout looking ridiculous. I think people have 
confused youthful with adolescent. You can't fool them anymore." 

In a similar vein. Cabin Klein made a point of showing his en- 
tire collection exactly as it would be shipped to the stores, which 
meant hemlines that reached the knee instead of being cut short for 
effect. "What I'm showing, I'm delivering. So I'm not hedging. I'm 
not trying to be all things to all people." he said. "Some people saj 
this new length is too sober and too 1 940s retro, but frankly I see it 
as avant-garde. It's not mainstream. What's mainstream now are 
very short skirts. But don't you feel like we've been there before?" 

Klein's look of wartime frumpiness will certainly be embraced 
by women who don't want to bare it all in microshort A-line suits 
(and who don't want to follow other designers' leads and go sans 
stockings). Donna Karan made that clear by sending a slew of 
older— let's say shapelier models carousing down her runway in 
long, cozy cashmere sweaters and knee-length satin slips. And 
Dries Van Noten made a stab at lightening up this housewifey 
look with pretty floral chiffon dresses and snug jackets reminis- 
cent of 1950s couture. But the threat of serious dowdiness still 
loomed large. At Prada. where the mood was more Berlin circa 
1 940 than cyberspace, the program said it all when it described 
one black nylon bomber worn over a gathered knee-length skirt 
as inspired by "an image of Queen Elizabeth II at fifteen." 

For those who remember the queen at fifteen, the knee-length 
look is probably a comforting one. One older woman reading the 
reviews and surveying the runway pictures of Klein's show in Tlw 
Sew York Times let out a sigh of relief and whispered to nobody 
in particular. "Thank God for Calvin Klein." So much for the de- 
bate about what's avant-garde and what's mainstream. 

But the strangest— and perhaps most prophetic moment oc- 
curred in Paris one night during the Issey Miyake show. There 
was sixties designer Andre Courreges. the gu] « ho once stunned 
the fashion world with his use of vinyl and his structured silhou- 
ette, trotting quickh through the underground Louvre shopping 
mall. The man they once called fashion's futurist w as making a 
mad dash for the door. • 


Gianni Versace 



. V 




j \ j 











: V:3 


Helmut Lang 


Marc Jacobs 

Taking last season's silver streak one step further, 
designers— both the traditional and the avant-garde— cut 
fabrics as diverse as industrial rubber and classic satin 
into sexy shapes, left to right: Gianni Versace's bold red 
snakeskin-embossed vinyl trench; Liza Bruce's slim 
rubber sheath; Marc Jacob s cire silk organza shift; 
Helmut Lang's laminated-silk top; and Valentino's sweet 
black satin schoolgirl dress with white collar and cuffs. 



■♦ 1 



Vivienne Westwood 

•4 \\ 












Calvin Klein 


Evening wear falls into one of two 
camps— man-tailored suits or flirty 
feminine frocks, opposite page: John 
Galliano makes the point best by 
juxtaposing a strict satin crepe 
tuxedo with a frothy Madame 
Butterfly-inspired pink faille dress. 
this page: Calvin Klein sticks to his 
signature plain but provocative 
wool crepe dresses, while Vivienne 
Westwood pushes fall's new 
femininity to extremes with her 
frivolous concoction of feathers and 
tulle. Details, see In This Issue. 

It may not play on Main Street, 

but the sort of anything-goes glamour that made 

its mark in designers ' most recent collections 

is destined to change the course of fashion 

for seasons to come. The looks here 

take a playful, ultrasexy approach to fall's 

influential ideas, including slick vinyl, 

teddy-bear-plush textures, and top-of-the-thigh tailoring 

Pulled straight from the runways, 

complete with outrageous hats and hairstyles, 

they're admittedly extreme, but watch out: 

Their effect is sure to be felt 

in fashion at every level 

fantastic plastic. 

For Dolce & Gabbana. t >e future looks clear-taking the shape here of a slimly tailored 

vinyl trench that for the i It -i^ner^ embodies "a sexy kind of glamour." 

More clear thinking: the tov\ r ng transparent boots. Trench, about $825. Charivari, 

NYC; Ultimo, Chicago; Neiman Marcus, Los Angeles. Bal-Togs unitard, 

about $47. Capezio, NYC; Taffy's. NYC; Karabel Dancewear, 

Los Angeles and Burbank CA. Details, see In This Issue. 


Fashion Editor: Grace Coddington 
Photographer: Penn 




her wild 


"When you mix 
eclectic elements- 
like a tailored 
jacket and 
a traditional 
kimono-^the result 
is both sexy 
and upbeat , " says 
John Galliano 

East meets West meets 
John Galliano: The designer 
known for a romantic, 
cross-cultural look merges 
Wall Street style with 
geisha-girl charm to form 
what he calls the 
minimono. Bagutta, SoHo 
NYC; Saks Fifth Avenue. 
Chicago; Neiman Marcus, 
Los Angeles. 


ire fluff: Taking the 
ason's favored synthetic 
r to an unabashedly 
ireal extreme, Karl 
gerfeld gives the Chanel 
it its most whimsical 
carnation to date, 
ess and jacket, Chanel 
njtique, NYC. Jacket also 
Chanel Boutique, Aspen 
:verly Hills. Adding a 
ianel's Precision Lip 
jfiner in Burgundy and 
ofessional Lip Basics in 
:arlet. Details, more 
xes, see In This Issue. 


Marc Jacobs's madcap mix 
blends the current 
textures of fake fur and 
sheer metallic knit with two 
of the season's flirtiest 
shapes— a skating skirt and 
a tight-to-the-body sweater. 
Cropped to skimpy 
extremes and paired with 
dominatrix-worthy boots, 
they're enough to 
make even Tonya blush. 
Sweater (about $510), and 
skirt (about $350). 
Ultimo, Chicago; The 
Gazebo, Dallas. 

For Marc Jacobs, 

the lighthearted 

approach "is 

all about insane 

combinations . 

Anything goes in 

fashion today" 

'0 says ladylike and high 

:h don't mix? Certainly 
t Gianni Versace, who 
lorries the prim shape of 
I Empire-waist dress with 
I funky edge of black- 
ktic-coated silk for a look 
> terms technoglamour. 
jass, about $1,232. 
ijrgdorf Goodman; 
I iman Marcus; Gianni 
isace Boutique, Beverly 
I Is. In this story: hair, 

ten d'Ys; makeup, 

I tails, more stores, 
■le In This Issue. 



Platinum Hit 

With her white-blond hair and breathtaking, 
elongated proportions, model Nadja Auermann 
is the embodiment of the strong, sexy woman 
inspiring designers now. Katherine Betts tracks 
the influence of fashion 's new face 

When towering, Teutonic 23-year-old Nadja Auermann sailed out onto Dolce & 
Gabbana's runway last October with her halo of freshly peroxided albino white 
hair, crystal blue eyes, well-built frame, absurdly long legs, and Brancusi-esque 
oval head, it was all over for the undernourished look. 

It was all over for greasy hair, smudged-on makeup, long dreary skirts, and sneakers, too. Here 
was a girl who not only had curves but who in her free time wore lipstick, neatly drawn kohl rings 
around her alien-like eyes, hypnotically short skirts, and four-inch heels— all to stunning effect. 
Designers, photographers, and stylists were mesmerized by her immaculate presentation, her 
bizarre proportions (long legs, tiny torso, teensy head), and her chameleonic transformation from 
a mousy blond with youthful freckles to a platinum-haired Valkyrie with a smooth, golden tan. 

Ever since, it's been Nadja, Nadja, Nadja. And fashion has shifted gears accordingly— aban- 
doning last season's waif for a much stronger, sexier woman. 

"It's not only that she's an extreme opposite of the waif, because she's more than just another 
big, smiley supermodel," explains one fashion editor. "Nadja puts on the clothes and they come 
to life." More specifically, Nadja has breathed life— and the right dose of cool detachment— into 
the high-tech fabrics and sharp shapes that marched down every fall runway. At Helmut Lang's 
show, she was like a futuristic version of the tough, traditional Yves Saint Laurent woman. And 
on Gianni Versace's runway, her white hair coupled with his shiny technodresses in vinyl and 
Lurex earned her the nickname Cyber Princess. Versace himself calls her a "lunar beauty," adding, 
"She's got the mix of feminine, fragile beauty and a masculine, aggressive character." 

She's also got enough mystery to set her apart from the tight-knit group of supermodels and 
superwaifs who have, until now, dominated the runways and the tabloids. "All the other girls 
hate Nadja because she's not part of the pack," observes one editor. "She's quite secretive, 
frightfully serious, very German, and very disciplined." Which means that she quietly corrects 
makeup artists when she doesn't feel they are doing her justice and that she arrives on time, 
stands up straight, and makes a point of smiling at everyone. On business trips, instead of hit- 
ting the nightclub circuit, she's been known to retire early to her hotel room to sketch new hair- 
style ideas for her next look. 

"I am very German, yes. When I first moved to Paris, I wanted to put my head through the 
wall," Nadja says, twisting up her face and shooting her clear blue eyes to the ceiling. "They 
take two-hour lunch breaks, never stop talking. I was like, 'I want to work.' " Although she's 
lightened up a lot, Nadja's success is still contingent upon her determination to deftly navigate 
the murky waters of the modeling world. 

"She is the product of her iron will," observes Karl Lagerfeld, who, along with photographer 
Ellen Von Unwerth, was one of the first to meet Nadja several days after she arrived in Paris from 
Berlin in 1 99 1 . "The body and the look were built by herself. When she made her hair white blond, 
the career boomed and she became like a woman from another planet." 

Indeed, that pivotal moment back in October has sent Nadja's revenues and bookings soar- 
ing. Her book is stuffed with tear sheets of photographs by the likes of Steven Meisel, Helmut 
Newton, Ellen Von Unwerth, and Irving Penn; she's nabbed her first fragrance commercial— for 
the German perfume Joop!— and the fan letters from German teenagers are starting to pour in. 


But while Nadja has grabbed the fashion world's eye, she 
has yet to conquer the public in the way that Qaudia Schif- 
fer or Cindy Crawford has. "She'll never be a Claudia 
Schiffer," says Marc Jacobs, who used Nadja in his grunge 
collection, his last for Perry Ellis. "The girls America re- 
lates to are not the girls who are going to inspire design- 
ers. We're talking about two very different things here. 
What Nadja gives you is an amazing photograph from a 
fashion point of view; she does not give you a centerfold." 

But her washed-out, bleached-blond look is catching 
on: Models, actresses, and sot brave street kids are all 
taking the pen to a string of radical hair- 

color changes among high-profile 
beauties like Linda Evangelista and 
pop icons like Madonna, it's only 
now. says Louis Licari, that clients 
at his salons in New York and Los 
Angeles are really lining up for "a 
lot more color. Nadja's influence 
has been to break the stigma of 
fake-looking hair color." Howev- 
er, the ultimate indicator of Nad- 

bleached-out portrait— and plat- 
inum blond hair— on the cover of 
People magazine's recent 50 Most 
Beautiful People issue. 

When Nadja left Berlin and her 
"secure and predictable" banker 
parents, she had dreams of even- 
tually becoming an architect, an 
actress, or just "something differ- 
ent." Despite her then-pudgy face 
and fatter frame, she caught the 
eye of an ex-model turned agent 
who plucked her out of a Berlin 
cafe and snapped the Polaroid 
shot that landed Nadja in Paris a week later. As Nadja 
tells it, she was too tall, too fat, too freaky-looking, and 
she wasn't sure about the modeling thing. Neither was 
her first agency— Karin Models— which listed her as a cat- 
alog model and made a habit of apologizing to clients for 
her odd proportions. But Nadja knew immediately that 
uncreative, very commercial catalog work was not for 
her. "Everybody is surprised," she explains in a decep- 
tively small voice spiked with a heavy German accent, 
"but when I came to Paris, I had an idea already that I 
am not like a fresh young girl. I do not like to smile; I am 
more sophisticated. It doesn't help you to be pushed to 
be something that you're not. Cindy Crawford is a big 
star because she knows what she wants." 

Now Nadja does, too. But it took two of the keenest pro- 
fessionals in the business— hairstylist Julien d'Ys and make- 
up artist Linda Cantello— to convince the powerful Elite 
agency in Paris that Nadja's otherworldly gaze packed more 
of a punch than the standard supermodel smile. "She walked 
into a photo shoot I was working on for Fi snch Glamour 
and I had a shock," says d'Ys, who would eventually per- 
suade Nadja to dye her hair just as he had p led Lin- 
da Evangelista to chop hers off several years ag I'd nev- 
er seen a girl like that before. She had the strengu height, 
and self-assurance of a Helmut Newton model from uie sev- 

"She had 

the strength, 

height, and 

self -assurance of 

ja's impact on mainstream beauty ^, T-fplyY)! it /\//^(X)tDJl 
so far may be Meg Ryan's LCllCUllULl \CVVLUlL 

model from the 

seventies. But 

she abo had the 

look of a German 

actress from the 

twenties ' 

enties. But she also had the look of a German actress from 
the twenties." It was, in fact, an image of French actress 
Madeleine Sologne, one of Jean Cocteau's muses, that gave 
d'Ys the idea to turn Nadja platinum. 

Initially Nadja's agent, Didier Fernandez, a young Sven- 
gali at Elite in Paris, pressured her to lose weight and cut her 
hair. She took care of the former (some designers say that in 
one season she lost half her total body weight), but d'Ys cau- 
tioned her about the latter. "You don't want to look like every- 
one else." He knew what we all know now It's Nadja's weird- 
ness— her features and proportions— that have paid off. 
Nadja is not the first model whose look has challenged 
prevailing standards of beauty at 
the same moment that her shape 
and size have influenced fashion. 
In the sixties, the doe-eyed, stick- 
legged Twiggy rocked bourgeois 
notions of Anglo-Saxon beauty 
and simultaneously inspired a 
whole generation of women to 
wear miniskirts. More recently. 
Kate Moss stepped into the grunge 
look and brought the buxom su- 
permodels to their knees with her 
slim frame and glazed expression. 
Nadja may not look like every- 
one else, but by all accounts she 
can become just about anybody in 
front of the camera. "She's like a 
great actress, the way she reacts," 
says Lagerfeld. "Nadja has a lot of 
different sides to her," agrees Von 
Unwerth. "Most girls you think of 
for very specific roles, older, 
younger, retro, or very modern, 
but Nadja can be any woman." 

And she has been many: One 
month she would be on a train to 
Morocco reincarnating Marlene Dietrich for Ellen Von 
Unwerth, diamonds dripping off her neck. The next, she 
would be playing the insolent, sexless grunge girl for Steven 
Meisel, her eyes the size of saucers, a nose ring encircling 
one nostril. But since the hair-color change— the real turn- 
ing point— Nadja has lent all her oomph to strong women 
like the Blade Runner replicant she reproduced on Ver- 
sace's runway and, most important, the hard-edged, sexu- 
ally assured Helmut Newton woman she has reinvented 
for Newton himself and countless other emulators. 

"I like a strong, sexy woman. I was so sick of looking 
twelve years old with my hair parted down the middle." 
she says now, tugging at two strawlike bunches of severe- 
ly damaged hair framing her face. "A lot of people tell me, 
'Oh, you are now. you are the model,' but I think it was the 
right time. People don't want to see depressing skinny 
girls. Everything was too sad, too real. Now we want glam- 
our back, and we want strong women. A good model helps 
people to be inspired. And I was hoping I could help peo- 
ple see something else. Maybe this hair color has helped 
them to see glamour and sophistication." 

So what comes after the return to glamour and so- 
phistication? "For that you will have to wait until next 
season," says d'Ys with a laugh. "She wants to really 
make a shock." • 


Cool cowgirl: Elizabeth 
Taylor in Giant, 1956 



Sheer coi 
Helmut N 
photograph 1 
August 15, 

Jean genie: Patti 
Hansen in a 1979 
Calvin Klein ad 

ing pre 
Vogue, May 

Monroe in The 
Seven Year 
Itch, 1955 

On Saturday night Laura Patten, a 
nineteen-year-old Audrey Hepburn 
look-alike, danced until 3 a.m. at Ministry of Sound, a big south 
London club. On Monday she went to the backstage party after the 
Barbra Streisand concert at Wembley Stadium. On Tuesday she 
was reacting to the fashion she saw in both places. 

"In clubs, it's like you have to wear thick makeup, a bra top, and 
hot pants," she said. "Everyone looks like a tart. At Wembley, the 
older women were in floppy Armani pantsuits. That's a great look, 
but it's expensive and it's not feminine. They're two kinds of uni- 
forms. Lots of my age group feel the same. Where are the clothes 
for US? We're fed up w uli the w aif thing, and we don't like Vivienne 
Westwood. You're sort of compelled to wear tarty clothes. But tar- 
ts is like costume design. It isn't really sexy." 

She found her answer in a little black dress. 

"It's got bare arms and a bare back." says Patten. "I had the hem 
shortened, and I wear it with lipstick, high-heeled sandals, and a 
tan because. I don't care what they sa\ . a bit of tan is sexy. I'm go- 
ing to dress this way from now on." 


. bombshell: 
■ Claudia 
^ .Schtffer, ' 
^P Vogue, 
^P May 199] 

What this proved to me once again is that all fashion is react 
My mother grew r up in the late thirties. She did it with Carole L 
bard hair, red sweets that she used for lipstick, and long cigar 
holders. My mother fought her mother to wear makeup and 
heels. I grew up in the sixties, and my biggest fights with m\ mot 
were because I would not wear rouge. I wore only black and 
eled myself on the wan. existentialist singer Juliette Greco. At a 
in the mid-sixties I wore a stark, sleeveless column of black-and-wl 
tweed with a turtleneck and was given a standing (nation by all 
men. I had bought this revolutionary change of apparel at Bib 
shop like no other, a dark, glittering bazaar jumbled with $10 froc 
Lurex. hats, and feather boas. Biba turned you into a clothes junl 
I knew to the half hour what time the new stock came in each I 
day. To get there 1 would even take a taxi, although m\ British Vo) 
copyw i iter's pay was so low I even tried to sell my luncheon vou 
ers for cash. Who wanted to eat? Lunch hour was for shopping 

When did clothes last excite me like that ' lor so long now fa 
ion has been painting itself into a corner. Personalis. I cannot 
you how much I have hated the era of the supermodels. It is not 

Dark visidq: Kristen 
McMAumy by Steven 
Meisel, November 1992 

)ver the decades, women and men have had lots of different— 
yen antithetical— ideas about what makes a woman sexy. 
\eorgina Howell and Christopher Buckley look back at fashion's 
any efforts to entice and address the eternal issue 
fhow to dress to undress 

lis take 

As I sat down to write this, on a train, 
a young woman walked past wearing 
h above-the-knee pleated skirt, ivory stockings, bone-colored 
'imps, a blue double-breasted jacket, a strand of pearls, gold 
brings, and blond hair pulled back with a barrette. I think she 
)ton in Philadelphia. 

She looked like she got on in Philadelphia. Grace Kelly, who 
ust figure prominently in any discussion of what twentieth-cen- 
ry man finds sexy in twentieth-century woman, was from 
Nadelphia. There's that scene in Rear Window where she 
f/eeps into Jimmy Stewart's Greenwich Village apartment wear- 
gthat long Edith Head skirt— I don't even remember seeing her 
gs in that scene, only the dress, and that face. Fast-forward to 
iaron Stone uncrossing and crossing her gams in Bas/'c Instinct. 
vo hot blonds in the latest fashions. What's to compare? In sex, 

as in architecture, less is more. I remember something else about 
that scene: Jimmy Stewart being annoyed at her. What acting 
that must have taken. 

Before that lovely woman walked by on the train, I'd been 
about to write a heavy-breathing encomium to the miniskirt, which 
I've always thought of as the twenthieth century's most brilliant 
achievement, though I am very grateful for antibiotics, automatic 
teller machines, and passenger-side air bags. 

But as I thought about it, it occurred to me that things have 
changed since Mary Quant first raised hemlines and male heart 
rates back in the mid-sixties. In those Beatle days, the miniskirt 
had an innocence and a larkiness to it that seem lost in our Age 
of Less Innocence, with its crotch-grabbing singers and in-your- 
face jeans and well-oiled glutei maximi. I have a theory that once 
all those gorgeous, mile-long legs were revealed, the next logi- 



Lady-in-waiting: Actress 

Madame Harvey in a 

wasp-waisted evening 

gown, c. 1890 

Ready for bed? Kate Moss 

in German Marie Claire, 

August 1993 



Doris Day in 

Pillow Talk, 


Her take 

cause they look sexier and prettier in the 
clothes than I do. Well ... to be perfectly 

honest No, I take that right back. But I didn't feel the same way 

about Jean Shrimpton or Twiggy or any model since. My grudge is 
bigger and blacker than that. It is as if the supermodels have stolen 
away my pleasure in clothes, have come between me and the designer. 
They vacuumed up the sex appeal and left none for me. 

When models become stars and personalities, they start 
changing the script. Fashion became showbiz, and designers 
have admitted that they work their shows— no longer called 
collections— around these women. As a result their clothes 
became so sensational and body-baring and loud and down- 
right silly that they left planet Earth. For the first time in 
my life 1 became deeply bored by Paris. As supermodels took over, 
designers took their eyes off the ball— and the ball, I'd like to remind 
them, is me. You know, the one who pays for the clothes. 

And then when the high hopes of the eighties suddenly petered 
out, women who had pictured themselves as Princess von Thurn und 
Taxis recast themselves as La Miserable. In a couple of seasons women 

It's about legs. Legs! It's always been about legs. 

went from over- to underwhelming. The passive child-woman had 
no sexual motivation of her own. She was oomphless. One minute 
we were levering our pumped-up, gym-tuned bodies into dresses no 
bigger than swimsuits; the next we were knocking about in too-large 
frocks with rubber flip-flops. Shoulders shrank, stilettos turned back 
into combat boots, power hair drooped. Like Popeye mi- 
nus spinach, like Cinderella returned to the scullery, like 
graphs of the economy, we deflated. 

My first realization of a shift in fashion came with 
Christian Dior's New Look in 1947, when I was five, be- 
cause my teddy bear got a box of new clothes. My moth- 
er made these ursine garments out of scraps of the fab- 
ric she bought to lengthen her skirts. You cut off six inch- 
es around the hem, inserted a color panel, and sewed it 
all back together again so your skirt now dropped to 
your ankles. With hindsight I realize it was a brave and 
sad sight to see my fashionable mother attempting to 
bring a worn-out. war-restricted wardrobe in line with 
the most exciting collection in la ion history. "I design 

Young and inm 
Audrey Hepburn, c. 

clothes for flower-like women," said Dior, who confronted ofj 
fury for flouting fabric restrictions— and I am sure this diffident 
mopped his brow with a white silk handkerchief as he spoke, 
women with rounded shoulders, full, feminine busts, and hand-] 
waists above enormous, spreading skirts." 

My mother got there in the end. I saw Dior come to life ir 

Sex follows fashion. One pushes the other, but it is difficult 
who Is pushing whom. The sexy fashions of the 1980s look 
now, but they were right then. Kate Moss can really be calk 
now. In the 1980s it would have been impossible. Karl I .a 

wardrobe via copies or middle-market interpretations from 1 I 
such as Jaeger. What I chiefly remember is the rustling of her nl 
taffeta petticoats and the wafts of Lentheric's Lotus d'Or a i 
moved round our Kensington apartment in crisp glazed-cotton - 
waists. Draped over chairs in the bedroom were lacy slips lik< l 
one Elizabeth Taylor wore in the 1958 movie Cat on a Hoi Tin Ajj 
Before the fifties faded we had a glimpse of the ful 
Bill Blass in the Audrey Hepburn movie Funny Face. This <l 
derella fantasy moved right into Vogue's territorj . I 
Fred Astaire playing an Avedonesque fashion photographer i 
Kay Thompson a la Diana Vreeland in the story of a books l 
gamine who becomes a top Paris model. The couture dres- 
all by Givenchy— but, oh, how I loved the clothes she woi t 
the transformation! Black stockings, tight black trousers and a| 
tie-neck, a duffle coat and flat black slippers 
Those of us who started buying our a 
clothes in the sixties were incredibly lu<.k\ . 
the first time fashion was targeted specific 
for us. not for socialites and movie stars and 
er grown-ups. Londoners like myself becanl 
focus, and it was quite normal to be stopped 
the street by a reputable photographer or a f. 
ion editor who wanted to take your picture. F 
ion was by and for the young, cheap and off 
street, with the couture vainly struggling to k 
up— all except for Yves Saint Laurent, who 
predicted the course of the entire sixties with 
last collection for Dior. The movie that said i 


Anything that Is 
seductive without being 
vulgar. I always think 
of Cleopatra on the 
barge, Emilie du 
Chatelet having a 
brilliant conversation at 
a candlelight dinner for 
two with Voltaire, and 
every other seductress 
through time. 
Oscar de la II nia 

olgirls: Models in Vogue 
jgraphed by Steven 
el, December 1993 

curves: Marilyn 
all dressed up, 

His take 

cal step— assuming fashion is ever 
logical— was to adorn them with 
exy black stockings and garters! Panty hose (for my money, 
)ne of the century's worst inventions) made the mini possi- 
ble, but in doing that paved the way for seventies kink, which 
n turn led to some rather harder-core stuff. Remember Liza 
tfinnelli in Cabaret in 1972, all got up in black stockings and 
•arters and the Berlin S & M bit? Charlotte Ramplingtwo 
ears later in the positively kinky Night Porter? 

I don't mean to hang all the sins of the seventies on the 
niniskirt, only to venture that once that hemline went north, 
?andora started opening boutiques with names like the Plea- 
pure Chest, serving all your latex needs. It's been a while now 
(iince Cole Porter sang, "In olden days a glimpse of stock- 
ng/Was looked on as something shocking." What lyric would 

be left to him in the era of those 
thong bathing suits called butt floss? 
Don't misunderstand— I'm con- 
stantly begging my wife to buy more 
miniskirts to show off her (lovely) legs. 
And what man . . . well, I should re- 
ally only speak for myself. I was a very 
happy camper when, about the mid- 
eventies, the fashion industry glommed on to the fact that a lot 
f men were desperate for not only a glimpse of stocking but for 
( he whole nine yards of stocking. The Victoria's Secret catalog, 
vhich in the eighties replaced Playboy and Penthouse as the 
eading matter of choice, has long been a regular arrival in our 
lome. And before I start sounding high-and-mighty about butt 
loss, I'll come clean and point out that a good linear foot of my 
>ookshelf space is devoted to 

My wife, Duane, 
in her best black lace 
bra. Lauren Hutton, 
past or present 
Victoria's Secret 
underwear. Jean Harlow 
in a bias-cut satin dress, 
with nothing on 
underneath; Rita 
Hayworth in that 
nightgown with the 
black lace top; Marilyn 
Monroe in anything. 
Mark Hampton 

it fe sexy now is the 
i of Zen minimalism 
the comeback 
sco romanticism. 
iristian Lacroix 

while I was walking down Fifth 
Avenue in New York, a young 
woman cling-wrapped in what 
looked like Azzedine Alaia 
went clickety-clicking by on 
three-inch Manolo Blahnik 
heels. This apparition left 
me keening at the moon, 
and it was only eleven in 
the morning. She was wear- 
ing dark sunglasses. On top 

of an outfit like that, sunglasses add a cool edge of mystery 
that makes it hurt even more. 

Better come clean on the boots, too. Why did that silly-but- 
irresistible Nancy Sinatra song "These Boots Are Made for Walk- 
ing" twang such chords when it came out? What is it about 
women's boots? The modern boot phenomenon, near as I can fig- 
ure, started in 1963 with Courreges's quite innocent white kid 
boots, and before the end of the decade Gres was designing those 
wet-look, thigh-high, black-patent-shiny "wading boots." From Pert 
Miss to Mistress Pert in six years flat, followed by all those Hel- 
mut Newton spreads in the seventies showing half-clad amazons 
strolling through Mad Ludwig's gardens in jodhpurs and with rid- 
ing crops. Maybe the fascination with boots isn't such a mystery 
after all. I've always suspected that the success of the movie Pret- 
ty Woman had more to do with that poster of Julia Roberts in thigh- 
high boots than with the movie itself. Just a theory. 

On balance, I guess the only complaint I have against Pan- 
dora is that she seems to have enabled the whole unfortunate 
Madonna business, which, thankfully, now seems to be going 

away. Otherwise the post- 

>ack issues of Sports lllus- 
rated swimsuit issues show- 
ng off the Vargas girls of today: Cheryl, Paulina, Kim, Kathy . . . 

tlexis . . . Elle. . . Ashley No point, either, in pretending that 

m immune to the glories of Lycra and high heels. Not long ago, 

Spaghetti straps and high-heeled shoes. Liz Smith 

sixties gave men rather a 

lot to get all het up about. 

Yet once the old endocrine glands calm down, more . . . shall 

we say . . . platonic images of feminine beauty do come to mind. 

One of the most arresting images of a woman that I have seen— 


Living doll: Peggy Moffitt 

in a Rudi Gernreich 

dress, 1968 

Her take 

Letting loose: A model 

gets casual in Vogue, 

June 1974 

Absolute beauty: A 
1988 ad for Absolut vodka 

Check her out: Christ 
Turlington in Vogutl 

May 199 1 

Only people are 
sexy; fashion 
never Is. 

1 1 < - 1 ii 1 1 1 1 I .ane 

for mc was Truffaut's 1961 Jules 
el Jim. about a girl who lived 
with two men (which seemed a happy state of affairs) It 
became a vital part of my fashion life. I don't think there 
was a single garment or accessory I didn't copy straight 
off Jeanne Moreau's back: the round wire granny glass- 
es, the long striped muffler, the boots, the kilt, the Shet- 
land cardigan, the tweed cap. the culottes. 

Mary Quant started her business without training, buying fab- 
rics over the counter at Harrods. simply because she couldn't find 
the clothes she wanted to wear. All of the summer of 1 962 I wore 
her striped wool pinafore by itself. All that autumn I wore it over a 
bright orange blouse. Then I discovered Biba. where you could walk 
away with a dress, hat. and shoes for $30. I absolutely had to have 
the crochet-bedspread dress, the vinyl mackintosh, the pin-striped 
gangster suit, the maxicoat, the tiny silver dress with silver tights for 
Christmas, the Mongolian lamb boa. the sweater 
striped in purple and black, the thigh boots, the 
lace blouse. But I couldn't get the 
cash together for Ossie Clarke's Op 
Art stripes or his leather motorcycle 
jackets or the lovely Celia Birtwell 
print chiffons I saw at parties on Marianne Faithful]. 
I knew girls, paupers like myself, who stole clothes on 
a regular basis. One became a movie star, the other 
was the daughter of an carl. When I later got friendly 
with Barbara Hulanicki. Biba's creator and designer, 
she told me she knew exactly who the regular 
shoplifters were, but if the girl looked good enough in 
the clothes, she let her get awaj with it. Which sort o\' 
summed up the sixties 

We were vaguely aware that fashion continued to 
exist beyond British stores. Paraphernalia was the New 
York equivalent of Biba. There was Jackie Kennedy 
in white and pale pink Chanel There was the topless 
swimsuit pioneered by Rudi ( iernreich on model Peg- 
gj Moffitt. who wore bright-red eye makeup. There 
were Fiorucci jeans in Italy. And in Pans. Balenciaga's 
disciple. Courreges, created white and silver moon- 
walker clothes with flat white go-go boots. And Paco 
Rabanne made dresses out of white and silver plastic 
tiles and discs, linked together like chain mail, a new 
kind of young, bared, and braless fashion that seemed 
the epitome of new sex appeal. 

Anything reminiscent 
of James Bond, 
Jean Shrimpton, Biba, 
early Julie Christie, 
Charlotte Rampling, 
Helmut Newton. 
Bidiaid Tyler 


Short skirts, if 
your legs are 
good. Low-cut 
tops, if your 
bosom is good. 
Dresses with no 
back, if your 
back is good. 
But not all this 
business worn 
together. Too 
tarty! Cover 
what is not 
beautiful and 
uncover what 
is— regardless of 
the fashion. 

Vileen Mehle 

We braced ourselves for the space age 
instead, rather unexpectedly, we got bell 
toms, macrame shirts, tie-dye. and frizzy I fr 
All you needed was a horse and a gypsy car; 
to go with it. Erstwhile hippies drifted back 1 
India and San Francisco, put aside their 
sticks and prayer beads, and wondered 
they were going to do with their lives. Who] 
Yves Saint Laurent could sum up this period of awkward transit 
If you dressed in Saint Laurent, you could be a Helmut New to 
rago, a divine Irma la Douce, or a virginal 
blond bourgeoise like Catherine Deneuve. 
Saint Laurent first designed Deneuve's 
wardrobe for Bunuel's 1967 film Belle de Jour, 
an unforgettable fantasy about a Hon chic bon 
genre beauty who secretly works in a brothel. 
It included the famous scene in which 
Deneuve. in an ethereal white dress, is tied to 
a tree and pelted with mud. Deneuve 
wrote of Saint Laurent that he perfectly understock 
woman's double life. "His day clothes help a woman Oh 
front the world of strangers without drawing unwelcoll 
attention, and with their somewhat masculine quality, tfl 
give her a certain force. In the evening, when a woman I 
choose her company, he makes her seductive." 

In the sixties we wore what we liked, confident that nil 
would find us sexy anyway. M\ wardrobe at the time loofl 
like an Indian bazaar after a hurricane. But then fashl 
became a little more exhibitionistic. Women tried a lil 
harder, and became sophisticated and self-consciousl 
1970 Marisa Berenson wore a necklet of chains and n 

Clear eyes, gm 
glowing skin m 
a strong bodm 
sexy, coverecw 

Norma Kai Ii 

ing else in I ogue. Bianca Jagger? I was at a party once wl 
she entered, as in a spotlight, in an lce-cream-colorc* 3 
Laurent trouser suit w ith bowler and cane, accompan 
by a retinue of men. It was a very big deal, as if Dictncr 
Monroe had arrived. 

Clearl) it was time for a tidy-up, and I happily pad 
off a couple of suitcases of cheap clothes to the thrift sh. 
But how could I afford real, sexy clothes' By a wondei 
stroke of luck there was a fire in the Bond Street Saint L 
rent Rive Gauche shop, and Voguettes were invited to 
first day of the sale. No. I didn't start the fire, but I v 
there before the doors opened, and what I bought i 
damaged but smelling of smoke formed the back- ►' 


When it comes to computer apti- 
tude, we're idiots, yes, but not 
complete idiots. Long since grad- 
uated from typewriters— we can't remem- 
ber the last time we bought a bottle of white- 
out we're convinced that at least as far as 
writing goes, computers are good, not evil. 
And, of course, they're the future. Never 
mind that our new PowerBook reminds us 
of an Etch-A-Sketch. 

Things are happening in cyberspace at 
warp speed. Magazine columnists have be- 
uun publishing their E-mail addresses; a pair 
bf lawyers— who else?— recently broke an 
•unwritten code by exploiting the free-ad- 
ivertising possibilities of the medium. In ex- 
cess of 20 million people— including, as of 
{quite recently, this married couple— are said 
ko be part of the Internet, the world's largest 
;omputer network. And computers' uses go 
way beyond editing, shopping, and bank- 
ng: In the last several months, newspapers 
lave reported the marriage of officemates 
Ivho had conducted a clandestine electron- 
c courtship, and the arrest of a man charged 
vith sending the president threatening E- 
nail. That's versatility. 

If the scope of the so-called infobahn is 
ruly extraordinary, our hopes were much 
nore mundane. We just wanted to see 
vhether we could master this great unknown 
before our one-year-old did. 

Right now the biggest commercial on- 
line choices are America Online, Com- 
puServe, Delphi, GEnie, and Prodigy. Each 
lias different strengths; anyone whose de- 
ision hinges entirely on the ability to ac- 
cess Roger Ebert's movie reviews, for in- 
tance, should head directly for Cora- 
uServe. (You can even "talk" to Ebert, 
ho has clearly already suffered from over- 
ling: His introduction warns, "Please do 
ot write me asking why a movie is missing 
rom the database .... I also regret that I 
lo not have the mailing addresses of any 

E hectors, stars, etc.") 
The range of offerings is vast, encom- 
assing everything from an all-German cy- 
>er-CB channel to "forums" (on-line dis- 
:ussion groups) on soap operas and pagan- 
sm (that's two separate forums, we think): 
here's a forum conducted in Spanish for 
lovers of women's legs." 

But anyone with a computer should be able 
o handle the basic technical requirements for 
11 these services: one to four megabytes of 

RAM and a 300-baud modem to plug into 
your phone jack. The only risk is losing inter- 
est in ever reconnecting your phone. 

America Online (AOL) is the service du jour, 
so popular right now that the start-up kit was 
impossible to find at stores in Manhattan. 
We called the 800 number, told a machine 
(of course) what we wanted, and a few weeks 
later got the kit a directions booklet and a 
disk— in the mail. (See Cyber Sidebar, page 
146, for more information. ) The start-up in- 
structions are. thankfully, idiot-proof, but 
even so we experienced some Laurel-and- 
Hardyish mayhem ("I know— watch this" 
and '* What are you doing?") as we hunched 
over our PowerBook and the graphics on 
the screen went haywire. 

In fact, AOL is easy to follow, even 
though there is a lot more to look at than the 
straightforward blocks of text we'd been ac- 
customed to. Our first significant decision 
concerned our "screen name," the way we'd 
be known on the network, whether ordering 
Math Co-Processors (you can— whatever 
they are) or discussing the pros and cons of 
the new bad Chevy Chase movie with a four- 
teen-year-old in rural Indiana. We wanted a 
name that wasn't gender-specific and that 
sounded appropriate. 

We typed in "Clueless." The screen shot 
back, "Your first choice is not available." 
Our second choice, "CompuDork," was 
nixed as well, and a name was "suggested" 
to us: "GeorgeK690." Why not R2D2? De- 
humanization had begun: Was adding num- 
bers to a name intended to put the comput- 
er at ease? But we capitulated, and in short 
order the screen flashed "Welcome, 
GeorgeK690!" as a disembodied voice 
spoke "Welcome" from the PowerBook's 
tiny speaker. We repressed the urge to insist 
that the pleasure was ours. 

Diving right in. we charged around from 
menu to menu, clicking the mouse once to 
highlight our selection and a second time to 
bring it instantly to the screen. We clicked 
on the cartoon icon called the Newsstand and 
found about 30 publications available, among 
them Time, The New Republic, and the San 
Jose Mercury News. 
("Available" usually meant 
that articles from recent is- 
sues could be called up; 
some also offered library 
and other services.) 

In the Headlines section, we 
looked at the top news story of the 
hour ("Nixon Alert But Unable to 
Speak After Stroke") and checked 
for any developments in the break- 
ing LaToya Jackson-goes-country 
shocker. We could look at just 
headlines or at complete stories; the expe- 
rience was more up-to-the-minute and less 
smudgy than reading a newspaper, but we 
missed the smell of morning coffee and the 
rustling of pages. 

Over in the Travel section, we became 
American Airlines Advantage members and 
impulsively booked a flight for Juneau, Alas- 
ka, leaving the next morning. Then, veering 
over to the Entertainment section, a music 
listing titled "Elvis Fan Alert" raised hopes 
of another supermarket sighting; instead we 
learned of "a special exhibit in the Grace- 
land visitor center plaza" devoted to Colonel 
Parker. We also learned that Sheila E. and 
Conan O'Brien would be holding AOL 
press conferences. 

At this point, one of us decided she'd bet- 
ter start packing for Juneau, leaving the oth- 
er to delve deeper into Entertainment. In 
April the message boards— public bulletin 
boards, in effect, with a pushpin icon— were 
understandably heavily Kurt Cobain relat- 
ed (349 Cobain/Nirvana "postings," as com- 
pared with, say, 83 for INXS). Arranged by 
subject, these could be called up and read 
with a couple of clicks ("Kurt reached 
me ... . F — Y — to all you who are diss- 
ing him on this board. This is not the time or 
place for that"). They piled up the same way 
notices pinned to cork bulletin boards do but 
looked more orderly and stayed up longer. 
Before GeorgeK690 could weigh in on 
the Meaning of Kurt, our epileptic cat had 
one of his periodic brief seizures. A click on 
Lifestyles & Interests led to the Pet Care Fo- 
rum, where, under Questions for Vets, an 
anguished owner of a similarly afflicted cat 
worried that he'd have to put the animal to 
sleep. The cybervet reassuringly listed many 
potential causes of epilepsy, recommend- 
ed a "thorough exam and history-taking," 
and suggested that an anticonvulsant might 
be prescribed. 

In general, movement around the system 
was fast and fun. We felt very . . . well, mod- 
ern, somehow. Maybe it was because we en- 
joyed the multiple-choice menus, or because 
we simply liked hitting buttons, but we of- 
ten found ourselves propelled into far and 

From a snail's pace to cyberspace: This 12-millimeter, silver-plated, 
light-sensitive Seiko Epson robot was designed to detect flaws 
in pipes, but recently it became the hottest toy in Japan- 
just as the information superhighway 
is often employed for relatively frivolous purposes. 

Sittings Editor: Phyllis Posnick Photographer: Penn 



A brief (and by no means comprehensive) guide to some 
on-line services; for more details, check computer stores, 
magazines, and books. 

America Online (800/827-6364) is a good starter ser- 
vice, although you may soon outgrow it. Its more than 
700,000 subscribers pay S9.95 each month, which in- 
cludes five hours of on-line time. AOL carries full text 
of such publications as Omni, Time, and USA Today as 
well as many forums; its interface (the program that 
helps you maneuver within the service) is one of the 
easiest to use. 

CompuServe Information System (800/848-8199), re- 
cently selected as the Editor's Choice by PC Magazine, 
strikes a balance between personal and professional 
uses. Its S8.95 monthly fee provides unlimited access 
to the basic services— news, stock quotes, general ref- 
erence, travel services, shopping— but you have to pay 
extra to get into the forums ($8 to $16 an hour). The 
1.900,000 members can participate in over 600 fo- 
rums (200 are computer related) on various occupa- 
tions and interests. They have access to the full texts 
of 60 newspapers and 200 magazines and news from 
AP and Reuters. 

Delphi (800/6954005), owned by Rupert Murdoch, pro- 
vides full access to the Internet A five-hour free trial pe- 
riod is available. After that, the basic plan costs $10 a 
month, which includes four hours of on-line time ($4 an 
hour thereafter). 

Dow Jones News /Retrieval (609/452-1511), combined 
with MCI Mail, the largest E-mail service in the country, 
is specifically geared toward the business user and there- 
fore has very limited entertainment information and no 
discussion forums. At $1.50 per 1000 on-screen char- 
acters, the cost can be prohibitive to the casual user. 

GEnie (800/638-9636). with 400.000 subscribers, is 
often unfavorably compared with larger rival Com- 
puServe, but it does provide access to vast third-par- 
ty databases like Charles Schwab Investing, Dialog 
(which itself contains more than 400 databases), the 
Worldwide Patent Center, and the GEnie Newsstand. 
The basic service— mostly forums, real-time chat ar- 
eas, and a somewhat complicated E-mail service- 
costs $8.95 per month, but users must pay extra to 
search the databases. 

The Internet is not a commercial service but a loose fed- 
eration of millions of computers all over the world, es- 
tablished as an information network by the Department 
of Defense. You can gain access if you are connected 
to one of the networks that are part of the Internet such 
as those at most universities. Or you can establish an 
account with one of the hundreds of local dial-up 
providers across the country. For a small monthly fee 
(usually under $25), you get unlimited access to the In- 
ternet by dialing into the provider's computer. The com- 
mercial services listed above also provide indirect ac- 
cess in the form of "gateways" that permit E-mail ex- 
change between service subscribers and Internet users. 
Once you're connected, however, finding your way around 
is difficult there is no built-in support system, but there 
are several available programs, guidebooks, and newslet- 
ters that can help. 

Prodigy (800/7763449). with two million subscribers, 
remains the quintessential personal service, ft costs 
$14.95 a month, with the first month free, carries 
everything from movie reviews and on-line mov. ills 
to restaurant guides and recipes to Grolier's enc> o 
pedia. Prodigy is also collaborating with a major retail 
er— Lands' End— and a cable company to provide elec- 
tronic transmission of full-color catalog photographs. 


distant corners of our interests. Grate- 
ful Dead Fonim? Excellent. We tapped 
out a few commands and learned that 
on July 29 the Dead would be playing 
at Buckeye Lake in Hebron. Ohio. 
Something about ha\ ing information 
any information; literally at your fin- 
gertips makes it hard to pull your 
hands away. 

But mere information, useful or 
not, can't compare with good 
old American blather. The 
main source of AOL's popularitj is 
the People Connection, and the next 
time we logged on we went directly to 
it and were automatically deposited 
into Lobby 6. 

Along the top of our screen, two 
lines of type, labeled Hi and Bye, mon- 
itored comings and goings. 
("GeorgeK690" registered as a Hi.) 
The screen also tells you how main are 
present in a "lobbj " or a more topic- 
specific "room" ("People Here: 22"), 
and you can get. at the touch of a but- 
ton, a list of who the> are. E\ en better: 
Highlight any name on that list, click 
Get Info, and you'll see that person's 
vital statistics if he or she has chosen 
to supply them. We never contem- 
plated for a moment revealing any- 
thing about ourselves but fell over each 
other try ing to call up information on 
our fellow balm travelers. We learned. 
for instance, that one user is from San 
Diego and enjoys Hying and scuba div- 
mg: real name, birth dale. sex. marital 
status, and preferred computers arc- 
also given. (If you keep such details to 
yourself, inquiring minds are simply 
told. There is no profile available for 
a user by that name") 

But where you learn the most about 
people is in the constant!) changing 
running public conversation typed out 
on your screen like a script It resem- 
bles a stenographer's transcript of a 
parts scene, with multiple and CTOSS- 
conversations creating a bizarre and 
sometimes funny string of seeming 
Don sequiturs and odd interpolations. 
I xample: 

l ser A: Any cute chicks out 

User B: Yes. I do actual]) . 

User C : Twins 

Pinter fragment? Possibl) More 
likel) it's just parts of three separate 
conversations. Since the lines appear 
as they're w ritten and sent, it's like a 

\ lsual version of wildly crossed t 
phone lines. Another eavesdroppi 

Chais: pitboss what do you di 
Mr. PitBoss: I am a Pit Boss 
Las Vegas that watches for cheati 
Ruth 1203: I loved Vegas. 
RICH 11 93: that sounds like if 
Mr. PitBoss: I love living her 
Chais: do you gamble pitboss 
Mr. PitBoss: No 

Well. You can practically hear 1 
clinking of ice cubes, right'.' ThinkB 
of it in cocktail-part) terms, we had! 
this "room" of 22. 4 people condiB 
ing an animated conversation audi 
doing the on-line equivalent of leanl 
against the wall pulling on beersl 
silently scarfing hors d'oem res (amcl 
them that wallflower coujl 
GeorgeK690. quick!) developing a rl 
utation as "lurkers" people who rol 
messages without posting any the! 
selves). We realized that our screl 
name was a problem: obviously ml 
and sounding like one person and il 
two. To enjo) the full possibilities! 
forded by this safe, anonymous fol 
of communication, one of us. an J 
\ery specific one of us. would have 
lea\ e the room the real room, not | 
cyberspace room. So she did. 

With my w ife at the far end of i 
apartment, 1 adopted the role of lu 
user and composed a message to soi 
one called Law nixes, but by the tii 
I'd figured out how (type messa. 
click Send box), FawnEyes's name I. 
appeared on the Bye list. On-screi 
meanw bile, someone was askn 
"ANY Bom HLRE A 16-17 \ 
OLD FEMALE?" There is a lot J 
of this random libido roaming arou 
the superhighway than its proniou 
would probabl) admit. 

An unsettling musical flourish fri 
the computer speaker heralded the . 
pearance of a box in the upper-le 
hand corner of m) screen. It was he; 
ed Instant Message from Yip. 
and the message was this: "hello 
These instant messages, it seer 
be sent directly to individuals. It's a I 
tie disconcerting you want to gel i 
and make sine all the doors are do 
ble locked. The messages are just b 
l ween you and your pen pal and doi 
appear on the running conversatk 
scroll. I w rote back to Viper Jay \ la tl 
"instant message" route 1 typed 
"hello" and sent it. (Of course. I didi 
have to respond It's easy to unde 

ind why Microsoft's Bill Gates prefers giv- 
g out his E-mail address to his phone num- 
•r.) After jumping back into the lobby, I 
id a brief exchange with a coed from Chat- 
nooga State— her bio, which I accessed 
liltily, told me that she's half my age and 
i -aspiring orthodontist" but that ended 
hen my wife unexpectedly materialized at 
\ shoulder. It would never have worked, 
lyway, and the young woman ran off (into 
:onversation) with some guy with a lot of 
imbers in his name. 

. B Morking as a team again, we ex- 
\§\m plored specific rooms off the lob- 
' W by. Gossip Gossip was boring bor- 
g— one person had just typed "any girls?" 
id another had requested an "age/sex 
•eck" (responses were along the lines of 
2/m," "24/f," and so forth) when a sub- 
Iriber burst in with news that "nixon just 
,ssed away." 

i Here was a chance to check how quickly 
e AOL news service updated stories. But 
; "Top News" headline read "Nixon Re- 
nted in Deep Coma," and we abandoned 
berspace to turn on the old-fashioned TV 
jd learn that Nixon had not died. (He 
didn't for another five hours.) Hurrying 
ck to the People Connection to correct 
r newsy, we found him gone— probably 
reading misinformation elsewhere in cy- 
rspace. But what would a town gossip be 
thout misinformation? 
Our most humbling experience involved 
idie MacDowell. A service called Holly- 
)od Online promised that "you can down- 
id pictures of your favorite stars from the 
ictures and Sounds' library." From a very 
lited selection, we picked Bad Girls, the 
:n current western; each photo title was 
companied by a listing of downloading 
e. We settled on "Andie in jail. Color" 
lirteen minutes) and clicked Download 
)w. A slowly filling horizontal bar showed 
photo's progress, until our computer 

of deconstructed Andie MacDowell, 
GeorgeK690 is out of patience." 

ne of the newest services is Women's 
I WIRE (800/210-9999), "the only on- 
line computer service completely de- 
signed for women." Part of its pitch reads, 
"The point-and-click Interface ... is intuitive 
and requires almost no learning curve. 
Women are simply too busy to learn a set of 
complicated commands and we don't think 
they should have to." (Men, presumably, are 
not busy at all and enjoy memorizing com- 
plicated commands.) 

Women's WIRE was developed to help 
women feel comfortable on-line. Though our 
exploration revealed nothing worse than a 
little harmless flirtation, cyberspace is ap- 
parently full of that most paradoxical of 
species, the macho technogeek. Harassment 
of users with obviously female screen ID's 
is rampant, and "flaming" (bombarding a 
person's mailbox with unpleasant E-mail) is 
a common response 
to beginners who 
ask "stupid" ques- 
tions. Women's 
WIRE (10 percent 
of whose 1,000 sub- 
scribers are men) 
purges all of that 
and, perhaps more important, acts as a 
women's source of news; political informa- 
tion; career, health, and financial advice; and 
general forums. It mixes seventies support- 
group attitude, eighties networking, and 
nineties technology. Click Organization Ac- 
cess and you'll get a "virtual office building" 
full of information on women's nonprofit and 
professional groups. News and Politics yields 
White House summaries, transcripts of both 
Bill and Hillary's speeches, as well as updates 
on abortion rights and legislation affecting 
women. Click Exchanges, and things get more 
personal. A message in the Writer's Block Fo- 
rum seeks to start a discussion on "finding 

iirsi lime un-nm 

and chasing the kit at a local software shop. 
When we first logged on, our PowerBook 
didn't utter "Welcome" but emitted a per- 
functory duck quack— a little deflating, but 
the spinning-globe graphic promised excite- 
ment. We'd heard that CompuServe was a 
broader and more business- (as opposed to 
home-) oriented service. The screen in gen- 
eral wasn't as engaging to newcomers' eyes 
spoiled by the pizzazz of AOL. Signing on 
was just as simple. 

For the sake of simplicity (and equality), 
we functioned jointly as "Rachel Urquhart." 
A small status window on the right of our 
screen showed which part of the service we 
were in and how much time had elapsed; 
thankfully there were no bar graphs quanti- 
fying our level of comprehension. 

At first we had trouble clicking onto any- 
thing but the Notices section; we called Com- 
puServe customer service— on a telephone, 
which felt archaic— to see what the problem 
was. Our modem baud rate, we were told, 

Bypassing the tantalizing Personal Finance 
and Automotive Information services, 
we somehow found ourselves in a 
support group in the Human Sexuality Forum 

cktail-party terms, we had four people conducting an animated 
wersation and eighteen doing the on-line equivalent of leaning 
inst the wall pulling on beers or silently scarfing hors d'oeuvres 

ike: "File's done." We could practically 
ar the machine stifling a yawn. But Andie 
acDowell never looked so bad: Instead of 
r lovely features, we got hundreds of lines 
single-spaced hieroglyphics— not an im- 
: at all, but the commands for creating one. 
ge upon high-quality page of this gibber- 
issued forth from our printer, stopping 
ly when the screen announced, "HP 
serJet 4ML is out of paper." "Yes," we 
)ught, shuffling thirteen numbered pages 

your voice." In the Parenting Forum, some- 
one types in to say she's felt her first "baby 
flutters" and four other users chime in. In the 
Have Pen, Will Travel section, writing op- 
portunities and submissions of all kinds are 
posted, hawked, and requested. In every Ex- 
change, however, the messages are more re- 
laxed and helpful in tone than they are on 
more male-dominated services. 

And— although not Roger Ebert fans— we 
did make a foray into CompuServe, pur- 

was set too low. The friendly voice at the oth- 
er end of the line told us how to raise it. Then: 

"OK, let's just get you on-line. Do you 
know what kind of modem you have?" 

"Urn ... no. It's inside the PowerBook, 
if that tells you anything ..." 

"Uh-huh. OK, forget about your modem 
then. Let's try getting into a forum. Click 

"Wait! Our computer isn't plugged into 
the phone jack. Sorry, you must really think 
we're idiots." 

"No, actually you're above average. Now 
plug in . . ." 

Bypassing the tantalizing Personal Fi- 
nance/Banking and Automotive 
Information services, we some- 
how found ourselves in a sup- 
port group in the Special Inter- 
ests section of the Human Sex- 
uality Forum, just as our host, 
Rika, was announcing the evening's agenda: 

"tonight's topic is: SURVIVING A 
SPLIT: Going back to the ex. is itanother 
chance or invitingdisaster?" 

"DISASTER," bellowed one user. 

Rika politely asked him to turn off his 
caps lock. 

"sorry i'm new at this," he typed, and the 
discussion proceeded. 

We left and clicked into the Thirty Most 
Asked Questions on the Hotline, ►l?! 



Thanks to WYYs House of Style, which celebrates its 

fifth anniversary this month, Cindy Crawford is no longer a mere 

supermodel. As host of the show, she takes four million viewers 

beyond the runway and behind the camera. 

\\ [LL1 \M NORWICH charts Crawford's evolution from a pretty 

lace into a style -savvy reporter and commentator 

Tt's so cheesy," Cindy Crawford moans, shaking her 
head at her image on a TV screen. Sky-high in a fifti- 
eth-floor office of MTV headquarters in Manhat- 
tan, the iibermodel is devoting an hour to scrutiniz- 
ing her flaws. 

Flaws? VY earing a favorite black Chanel short-sleeve turtle- 
neck, a silver mini, black tights, and high boots, Cindy exhibits 
not the slightest detectable detour from perfection, despite the 
brilliant sunshine pouring in through the windows. Of course, 
that is. in part at least, why she earns an estimated SI 5 million 
a year, the result of a heavy modeling schedule, a reported five- 
year, $7 million contract with Revlon, and the profits from two 
best-selling exercise videos. 

( i awford is reviewing her hits and misses as the host and 
reporter on MTV's popular program House of Style, a pioneer 
in bringing the world of fashion to television. It is a cassette of 
the very first episode, in 1 989. that elicits her chagrin, the one 
where she perches on a terrace overlooking Central Park and 
promises "the latest lowdown on high fashion" and a "survey 
of street looks . . . and a sampling of style victims from some of 
our most visually oriented rock stars." Tins is the episode her 
modeling agent proclaimed her nuts for doing, when she could 
have shot a analog that day. The one that inspired a reviewer 
to write that Cindy "emotes with all the passion of a voice-syn- 
thesi/ed41 1 operator." 

"Checs\ ." ( indv repeats and laughs about her strained 
delivery, which consisted entirely of readme haltingly off cue 
cards (She ultimate!) resorted to getting contact lenses.) "1 
used to be more concerned about the way 1 looked, and the 
way 1 was lighted." she adds "Because at first 1 was hired only 
to look good." 

But she must have done something right. This month House 
of Style celebrates its fifth annh ersary, and each of its ten 
episodes a year is watched by close to four million savvy young 
view ers 1 i\ e \ ears is an eternity on lde\ ision. and Cindy is the 
only model to date to have succeeded n the fickle field of TV. 

( raut'oid. 28, acknowledges that jo - e House of Stykwes 
one of the smartest moves she ever mat Z 1 or the show's first 
year, she simpK opened and dosed each episode with scripted 
greetings and remarks, but since then she has grown to become 

quite an entertaining reporter, covering the style waterfront— 
from a tongue-in-cheek and behind-the-scenes look at the shoot- 
ing of one of her own swimsuit calendars to a serious segment 
on breast implants in which she surveyed her fellow models for 
their opinions on the controversial subject. 

Alisa Bellettini, who developed and produces the show, as 
well as occasional specials, with Crawford, says she hired Cindy 
because she saw her as "the ail-American girl, tasteful and beau- 
tiful but fun. And I knew that people would be interested in a 
model. Of course, for the first year, Cindy was a little stiff." 
Bellettini says politely. "But what happened was, about a year 
later we were at some event and I just put a microphone in 
Cindy's hand and had her start interviewing people. And every- 
thing changed." 

It was at an AIDS benefit organized by Gianni Versace in 
New York. Crawford was scared when Bellettini handed her 
the mike, but luckily the first person she was told to chat up was 
photographer Herb Ritts, a friend whose mother had intro- 
duced Cindy to her future husband, Richard Gere, in 1988. 
"Then I interviewed Sylvester Stallone and Sandra Bemhard. 
whom I didn't know. It was OK; we got some good stuff." 

Bellettini's concept for House of Style was to present fash- 
ion as fun, with affordable style tips for the hip and happen- 
ing masses, fashion news as entertainment, or "style-o-tain- 
ment," as insiders have come to call it. "I just want everyone 
to know that anyone can be stylish." explains Bellettini. "You 
don't have to be a model. You don't have to be rich." In the 
process, the show has also humanized Crawford's glamour- 
girl image. "I don't have to take myself so seriously anymore. - ' 
Cindy says. "I don't have to go out with big hair and an Azze- 
dine Alaia dress on, because my viewers have seen me on 
House of Style with rollers in my hair, putting on makeup, and 
holding in my stomach." And then she adds. "I'm not just one 
of the girls' anymore, and that is what models always get 
called-girls. I still like modeling, and doing shows, but now 
1 have a voice, a point of view ." 

Fashion on tele\ision. especially cable, where it can till count- 
ies-, othervi isc-unprogrammed hours, has become a big busi- 
ness, imitation is very flattering, but isn't it too much'?" won- 
ders Elsa Klensch, whose straightforward, joumalistn. half hour 



ow time: Crawford with House of Style 
xjucer Alisa Bellettini at the MTV offices 
New York City. Crawford wears a Karl 
gerfeld for Chanel sweater and a shiny 
niskirt by Istante by Gianni Versace. 
Ilettini's dress is by Todd Oldham. 
ir, George Kyriakos; makeup, Genevieve 

tings Editor: Carlyne Cerf de Dudzeele 
otographer: Mary Ellen Mark 

The s 

pwhas humanized Crawford's glamour-gir 
^. "I don't have to go out with big hair and I 
an \//edine AlaTa dress on, because my viewers have 1 
seen me, on J louse of Style with rollers in my hair 
pulling oil makeup, and holding k^pay 




of fashion on CNN launched the field fourteen years ago 
and quickly became the network's number one weekend 
show. "This past fashion week in New York," Klensch con- 
tinues, "there were camera crews not only in their own pen 
but in the pit, competing with the print photographers." Al- 
most every network, from the majors to such cable chan- 
nels as Lifetime Television and Comedy Central, has tried 
putting fashion on television— with various results. 

"Poorly" is how Steve Friedman, executive producer of 
the Today show, rated network television's fashion cover- 
age in a recent interview with Women's Wear Daily. "Be- 
cause it's helter-skelter, it's not a regular beat like health and 
science," Friedman explained. "What I found is that fash- 
ion is so eclectic these days. There's no such thing as the 
Paris fashion shows setting the trends." 

While Today plays it safe by having a reporter come on 
a few times a year to talk about such standard subjects as 
back-to-school clothes and swimwear, other networks are 
taking a more lighthearted approach, a la House of Style. 
Naomi Campbell recently served as a special correspon- 
dent for Good Morning America. Christy Turlington was 
the subject of a full-length documentary for the Lifetime ca- 
ble channel. Model Veronica Webb has just completed a 
pilot on the lighter side of fashion news for VH-1 , where her 
mandate, not surprisingly, is "fun." VH-1 's FashionTelevision 
never misses a stylish event or trend, and this fall, Anthony 
J. Guccione II, son of Penthouse publisher Bob Guccione, 
intends to launch FAD TV, a 24-hour cable channel de- 
voted to fashion and design. 

Like Elsa Klensch, Crawford says she's "compliment- 
ed" by the competition but thinks it may be a passing trend. 
"One year all the models had little dogs at the shows, and 
another year they had their boyfriends hanging around 
backstage. Last year in Paris everyone had a microphone 
and a crew following them around." 

Of course, using a model on television did not begin with 
Crawford. Back in the fifties and sixties former Miss Amer- 
ica Bess Myerson, not exactly a model but a stylish 
spokesperson, turned up constantly on TV. Traditionally 
models opt to try acting, but Christie Brinkley, Rachel 
Hunter, Kim Alexis, Cheryl Tiegs, and Carol Alt have all, 
at various times, contracted the television-commentator 
bug. Why does Cindy prevail? 

"She's young and hip and entertaining," offers Rolling 
Stone founder Jann Wenner. "She's having fun, and that 
is communicated. Cindy has a rock 'n' roll personality." 

Bellettini says the hardest part about capturing fashion 
on television is "how to teach camerapeople to shoot it. You 
don't want people just twirling around, and you don't want 
to just do a pan up and down. You want to show the clothes, 
but in an interesting way. That hasn't always been easy, be- 
cause it's not easy to shoot fashion in a really cool way." 
Her solution is to have Cindy, with her rock 'n' roll per- 
sonality, take viewers behind the scenes, whether at a Hel- 
mut Newton fashion shoot in Monte Carlo or on a shop- 
ping spree with Duran Duran's John Taylor and Simon Le 
Bon at a Sears in California. Cool, too, was hiring the groovi- 
ly goofy designer Todd Oldham as a regular. (Cindy's ad- 
vice to Oldham when he started in 1 993? "Don't let make- 
up give you a prominent mole.") 

The House of Style staff of about twelve has monthly 
meetings (Cindy attends whenever her hectic schedule per- 
mits) to discuss ideas and to push concepts that have helped 

the show evolve from being simply a showcase for the lat- 
est trends to encompassing what Cindy and Alisa term their 
"cause" shows— segments covering topics from eating dis- 
orders to date rape. Sometimes these more serious subjects 
make the MTV powers that be a little nervous, but Cindy 
manages to assuage their fears. "So we had to open the date- 
rape piece by saying: 'Do the clothes you wear affect if you 
get date-raped or not?' But we still got to do the piece." 

Crawford is nearly as busy as she is famous. (She esti- 
mates that she has accrued over 500,000 frequent-flier miles. ) 
She plans to continue with her high-profile projects, in- 
cluding her work for Revlon, her yearly swimsuit calendar, 
taping more exercise videos, and a possible line of Cindy- 
designed clothing. And her marriage to Richard Gere still 
provokes an inordinate amount of gossip and tabloid cov- 
erage—to such an extent that the couple recentiy took out 
a full-page ad in The Times of London to assure "friends 
and fans" that they are "heterosexual and monogamous 
and take our commitment to each other very seriously" and 
to dispel rumors of divorce or a prenuptial agreement. "We 
remain very married," the ad stated. "We both look for- 
ward to having a family." Clearly, this is not your standard 
marital situation, but it is one that Cindy addresses with her 
usual straight-ahead approach. 

Perhaps knowing that her career as a top model has a 
time limit, Crawford is increasingly focusing on House of 
Style, as well as other ideas for broadcast journalism, per- 
haps even a talk show. But if she does a talk show, it will 
not take the typical talking-head approach. "People are 
less protective of their celebrity around me," she says. "I 
can ask questions as an insider." Celebrities also know she 
will protect them, in the same way she would like to be pro- 
tected. "We did a piece on Linda Evangelista," Cindy re- 
calls, "and I saw the tape, and Linda was eating cake. It 
was a really bad angle on her face and neck, and she 
wouldn't have liked it. And I said, 'You know what? We 
can take this out.' " 

But she isn't always that careful if it threatens the au- 
thenticity of the show. "For instance, when we featured 

Naomi Campbell Naomi can be a total brat," Cindy 

says and laughs. "But she can also be a really funny, great 
person. When we did the piece on her, we showed her like 
that: 'I don't care, I have to go to Prada,' " Cindy says, do- 
ing her imitation of Naomi glamour. "But we also showed 
her putting on zit cream. I think people, especially mod- 
els, know that if they do our show, they are going to come 
off as real people. 

"And viewers get to know what it is like to hang out 
with these celebrities," she adds. "We're not trying to make 
a statement about them either way. I'm not a journalist, 
so I would never position myself like a Barbara Walters. 
But the format of the show also gives me a different kind 
of freedom, the freedom not to ask the obvious questions. 
Everything has already been asked of the people I would 
interview anyway, so why not ask them to spend an af- 
ternoon bowling?" 

Crawford also suggests that the House of Style method 
is, well, more modern than standard television fare. "I love 
watching one-on-one interviews, but for most people of 
my age and generation, it is almost too slow, isn't it? We 
need more going on than that." 

In other words, the generation that wants its MTV also 
wants its Cindy. • 


Four of today's J ; 

most controversial young artists 
hap/)//)/)/// themselves 
in the hands— and before the lefts 
of photographer A nnie Leibovitz 
to ask what is art, what is self 
[ and what is identity? 
Dan Cameron searches 
for answers 




■ • 


Let the show begin: On Queens pier on the Isle of Man. 
Matthew Barney (near right), accompanied by a slightly mutated 
trio (left to right: Colette Guimond. Christa Bauch. Sharon 
Marvel) of his own creation, pushes the definition of 
showmanship. Design execution, Michel Voyski of 8co.; 
prosthetic makeup. Gabe Bartalos. 

Sittings Editor: Camilla Nickerson 



For most of this century, photographic 
portraits of visual artists have tended 
to promote the mythology of genius 
best summed up by the uncanny power that 
images of Picasso's eyes had over genera- 
tions of photographers until his death in 
1973. Even when the artist's portrait has 
served to extend the barriers of 
the cult of personality— witness 
Jackson Pollock's trancelike per- 
formance (immortalized by 
Hans Namuth) as Jack the Drip- 
per, or Andy Warhol's impish 
attempts to maintain a facade of 
boredom— it has rarely, if ever, 
attempted to do away with the 
rules of that cult. A more com- 
mon phenomenon, which took 
place in the eighties, is that pho- 
tos of art stars such as Jean- 
Michel Basquiat, Keith Haring, and Julian 
Schnabel tend to reach a stylistic nadir when 
they become marked by certain rigid no- 
tions of identity. The narcissistic poses 
struck for photographers by these and oth- 
er artists of the decade may have been em- 
braced by their audience because of the ob- 
vious links to the original myth of the artist 
as solitary hero. But their interest as pho- 
tographs is somewhat less- 
ened today by the rather di- 
minished verdict that time 
seems to be handing out on 
much of the work these 
artists created. 

The first artist to use the 
photographic portrait as a fic- 
tion, turning those expecta- 
tions of grandeur upside 
down, was probably Marcel 
Duchamp, who in 1921 
posed for Man Ray in a 
woman's hat, wig, 
and fur collar as one 
of the personae (Rrose Selavy) from 
his oeuvre. In the last decade and a 
half, Duchamp's example seems to 
have spawned a number of trans- 
generational offspring, beginning 
with Cindy Sherman's "film still" 
self-portraits of the late seventies and 
early eighties and continuing through 
Jeff Koons's alternately kitschy and 
sensationalistic self-images as teacher, lover, 
and art star. The current trend toward putting 
on and taking off disposable identities seems 
to indicate that artists today really don't need 
another hero system— in fact, they seem to 
prefer antiheroic poses that send up or sub- 
vert the whole notion of the artist as an "im- 
mortal." The freedom not to take identity se- 
riously is a hallmark of this new shift in the 
cultural idea of what an artist is. 

Waking up to reality: Jack Pierson becomes 
a character in his own work with his Jack 
Russell terrier and a few possessions in 
the spare surroundings at a hotel for 
transients in New York City, opposite: The 
artist's Deoce lingo, 1991. provides a 
backdrop for three of his recent 
photographic images (clockwise from top 
left), Red and yellow flowers, Still from "The 
Celestial Child," and Playland, all 1993. 

With her characteristic flair for collaborating with her subjects, 
Annie Leibovitz has created portraits of four of the best and bright- 
est tit" this new generation of hide-and-seek artists. Their willingness 
to pla\ a role w itliin another artist's vision also brings up the knot- 
ty question of how best to read these photos: as publicity shots, char- 
acter studies, or simply natural extensions of what the artists are al- 
ready creating, in (and out o\~) their studios? 

To understand the questions that come up when identity tag is 
played in earnest, we need only look as far as Sophie C'alle. This 
French artist, currently living in New York, became famous in the 
eighties for her works exploring voyeurism as a metaphor for the 
postmodern condition. She once based a piece upon the act of fol- 
low ing a perfect stranger onto and off of a train to Venice, after 
which she covertly spied on him for days while he visited the city. 
The final work consisted of photos and text documenting every 
phase of the "interaction" until it became clear that he'd spotted 

her. at which point she declared the piece finished. For anothe 
work, she took a job as a chambermaid in a Paris hotel, phc 
tographed and made detailed lists of the belongings of the rooms 
occupants, and then effectively turned herself in by presenting th 
"evidence" in the form of finished photo-text pieces. 

With these earlier acts of social espionage, as well as in her mor 
recent investigations documenting the way people remember paint 
ings and other objects that ha\ e been stolen or otherwise remove 
from museums. Calle tries to draw our attention to the deeper mear 
ings concealed within our pn\ ale gestures and fantasies. In her Lei 
bovitz portrait, as a bride surveying her seedy domain from a Low 
er East Side storefront window . Calle recaps some of the feelingo 
Double Blind, her 1992 collaborative film with Gregory Shephard 
in which her real-life mission was to convince him to marry her 
while his goal was to complete the nun ie. The film culminated i 
the couple's wedding in Las Vegas at a drive-through chapel. Calk 


self determination 

i Bride to be: French artist Sophie Calle, inspired by her 1992 film collaboration. Double Blind. 
M with Gregory Shephard (now her husband), lives out a slightly seedy fantasy behind a 
storefront window on New York's Lower East Side, opposite: One of her 1986 photo-text 
pieces. The Hotel. Room 29, #2. which she created while working as a chambermaid in a 
Paris hotel. Hair and makeup. Richard Keo for Salon Dada. Details, see In This Issue. 


Dead or alive? Fascinated 
by death. Damien Hirst 
envisions his own 
embalming at a London 
mortuary, opposite, bottom: 
The artist's 1991 sculpture 
The Physical Impossibility 
of Death in the Mind of 
Someone Living, in which 
a tiger shark floats in 

uses her own less-than-blushing image to project a sense that such 
fantasies must be recognized and understood (if not always acted 
upon) in order to keep one's own sense of identity alive. 

Video-installation artist latlhew Barney's complex, elaborate- 
ly produced narratives usually feature him in the central role. Bar- 
ney's splashy debut in 1991 consisted of video documentation and 
artifacts related to an endurance feat performed earlier in the same 
space. The central image in this futuristic, vaguely threatening fan- 
tasy is of the mostly i, le artist in a harness, slowly crossing the walls 
and ceilings of his SoHo gallery; in another video, shown simulta- 
neously, he simulates physical intercourse with a machine. Barney's 
contribution to last year's controversial Whitney Biennial was more 
explicitly surreal, although its plot" suggests a morality tale about 
the eighties based on images of sat) s cavorting (the artist in dis- 
guise) and chaotic revelers gliding al< e oik of Manhattan's high- 
ways at night in a white stretch limousine. Throughout Barney's 
work, an exploration of the whole notu 1 of masculinity makes it- 
self felt in visceral and sometimes bizarre ways. His apparent adu- 
lation of injured football player Jim Otto, his deployment of gym 


equipment molded from petroleum jelly, and his constant shifts 
tween male and female personae indicate an ambivalent and ill 
ic take on the much besieged masculine ego. And by constant!;) 
tering and expanding on the physical limits of his and others' ic 
thies. Barney inflames our discomfort with the precarious b 
between normality and mutation. 

Contacted by Leibovitz on the Isle of Man, where he was sh.| 
ing his first video for broadcast, Barney was impressed by the 
that she was willing to fly there and work around his product! 
schedule. "Tier history of working behind the scenes is very imp! 
tant." he explains. "Since we had a pretty tight schedule in whicl 
shoot, she and 1 decided the best way to approach it was as a J 
photo on location." Barney was even more impressed by Leibovil 
perseverance in waiting out a whole day of wind and rain in orl 
to accomplish the one-hour photo session. In the image select! 
Barney poses as a futuristic carnival barker in a dapper twentl 
style suit and full sci-fi makeup: fire-engine red hair and a pail 
shee. 'sears. He is accompanied by a isarming trio of cybertrj 
like female bodybuilders made to loo as androgynous as M 

self determinatio 



Fat injections, laser peels , and miniature 
scalpels promise quick and relatively easy fix 

for wrinkles and sags . Peter Jaret reports 
on the techniques, the advantages, and the ris 


Whenever an invitation for an important party arrives, the 
first person Leslie Stone* calls isn't her hairdresser or 
her pedieurist. She calls her plastic surgeon. 
"I run in, get a few fat injections to smooth out my 
frown lines, and I'm off." says Stone, 48, chief financial officer for 
a Philadelphia corporation. 

A year ago, dismayed by the deepening lines that tugged the cor- 
ners of her mouth into a frown. Stone worried that it was face-lift 
time. Even when the results are good, she knew, the surgery isn't a 
pretty picture. For a conventional face-lift, surgeons make a long in- 
cision starting in the hairline above each ear, continuing around in 
front of and then behind the earlobe. They peel back the skin, then 
snip and scrape, tightening muscles and getting rid of excess skin and 
fat, Then they sew the face back together again. The operation takes 
between three and five hours. Most patients hide out for two or three 
days and then don heavy makeup and sunglasses for a few weeks 
while the swelling and bruising die down. Stitches have to be removed, 
wounds dressed. And as with any surgery, there's always a risk of 
complications from infection or of adverse reactions to anesthesia. 

Such, Stone figured, was the price for a longer lease on youth. To her 
surprise, Manhattan-based dermatologic surgeon Patricia Wexler sai 
no. Instead of a face-lift Wexler recommended fat injections. Applyin 
local anesthetic, she made a tiny incision on both sides of Stone's hips. 
Then, inserting a syringe, she removed a thin layer of fat from just be- 
low the skin roughly half a cup in all. Wexler rinsed the fat cells to u ash 
away blood and then injected small amounts through a hypodermic 
needle back under Stone's skin ;his time along the "marionette"' lines 
that descended from the corners of her mouth. The fat plumped up the 
skin, smoothing the creases that had formed over the years. 

forty-five minutes later I walked out of the office," Stone re- 
calls, "and I looked terrific" 

Most of the injected fat broke down and disappeared over the 
next few weeks, absorbed into the bloodstream. No matter. Wexler 
had removed and frozen enough fat for a years worth of treatments. 
A month later Stone returned for her next injection and she's been 
going back every six to eight weeks ever since. 

"It's no different than going in for a haircut or a permanent." says 
Stone. "I mean, it takes less time than going to the hairdresser'" 

C osmetic surgeons still do a booming business in conventional 

" These names have been changed. 

face-lifts some 50,000 are performed each year. But over the m 
few years advances in fat injection, endoscopic surgery. Upon 
tion, surgical lasers, and light chemical peels have provided if 
options for erasing age lines and tightening sagging skin. Many I 
be performed in the doctor's office, often with nothing more tfl 
a local anesthetic. 

"Without making a single incision, we can make a very real J 
ference in someone's appearance," says Patrick Abergel, a cosr 
surgeon in private practice in Santa Monica. "I have patients 
come in on Friday and are back to work the following Monday^ 

Not all the new techniques are quick or painless. Even the k 
invasive, such as fat injections, are still medical procedures that | 
ry some risk, however small, of infection or other complicatic 
Many of the latest techniques have not yet been fully evaluate 
widely endorsed, making it essential that patients find skilled i 
metic surgeons they can trust. But for anyone who's looked in | 
mirror and thought, "uh-oh." the good news is that there are i 
and far simpler ways to turn back the hands of time without unc 
going major surgery. 

■Wrinkle smoothers 

Fat injections have fast become one of the most popular ways 
smooth lines and creases around the eyes and mouth. "As we grj 
older we typically lose the layers of fat just beneath the skin that | 
the face its youthful roundness and smoothness." says Wexler. "Ye 
of sun damage, smoking, and yo-yo dieting leave many women lc 
ing drawn and haggard." 

Injections of collagen, which is derived from cow protein, are si 
widely used to smooth out fine lines and wrinkles. But injected) 
lagen always carries the risk of allergic reactions, such as rash, 
itching. And over time collagen breaks down and is carried away 
the bloodstream. Injected fat, on the other hand, can become p)j 
manently implanted when blood vessels begin to supply at leas! 
of the fat cells with nourishment. And because a patient's own 
is used, there's no risk of allergic reaction. 

Only lbout 5 percent of the fat from each injection typically II 
comes vascularized, or supplied with blood vessels, says V\ 
so one of the latest wrinkles in treatment is to give repeated injt 
tions using relatively small amounts oi "at each time. And inste:| 
of injecting thick clumps of fat cells, as v is once the practice, i 

:rmatologists now inject thin threads of fat, which tend to be- 
■me vascularized more easily. Wexler typically removes and stores 
iough fat for ten treatments. (To prevent dimpling, she removes 
ily a thin layer of fat by inserting the syringe and gently moving 
under the skin in a radius around the incision.) Patients return 
ery three to six weeks for a new injection until the desired effect 
is been achieved. The price tag for a typical fat-injection treat- 
ent around the cheeks or mouth: about $2,500 for a year's worth 

Since any kind of movement of the skin tends to hasten the break- 
wn of implanted fat, the injections work best in those parts of the 
ce that are least mobile. That's prompted some cosmetic surgeons 
counsel their patients to avoid making too many facial expres- 
>ns. Fine, if you happen to admire the Stepford Wife look. But if 
u can't help smiling or frowning sometimes, you'll end up having 
go in for occasional touch-ups. 

he art of liposculpture 

,' combining fat injections with liposuction— the removal of un- 
itnted fat— cosmetic surgeons can achieve many of the same effects 
a face-lift but with far less trauma. The art of removing a little fat 
ire and putting a little there has become so practiced, says Man- 
tttan plastic surgeon Joseph Michael Pober, that many cosmetic 
rgeons prefer to use the term liposculpturing. Says Pober, "We 
n use fat injections and liposculpture to dramatically reshape the 
jvline and tighten folds of skin in the neck, creating the illusion of 
leek lift"— all of it done in the doctor's office under local anes- 
esia, with a recovery time of days instead of weeks for a conven- 
mal face-lift. 

(Liposuction, of course, is hardly new. More than a decade ago 
e removal of unwanted fat through a vacuum tube seemed to be 
; answer to the prayers of anyone cursed with stubborn saddle- 
gs or an unbudgeable belly. But then came the bad news. Lipo- 
;tion was typically done under general anesthesia in an operating 
om. And though the operation required only a small incision, it 
ten created considerable bleeding and swelling as the vacuum tube 
is manipulated under the skin. And then there were the less-than- 
rfect results. In the early years of liposuction cosmetic surgeons 
^metimes removed too much fat and left shallow pockets or lumpy- 
)king skin, or removed more on one side than the other, creating 
j sightly asymmetries. 

llOver the past ten years, however, smaller instruments have been 
signed that can be inserted through tiny incisions and manipu- 
ed far more precisely than before, says Brian Novack, a plastic 

geon in private practice in Beverly Hills. In most cases liposuc- 
n can be performed with nothing more than local anesthesia, so 

patient is awake and alert, even standing up. That's important. 

hen patients are put under general anesthesia, their muscles go 

lp, so it's often difficult for physicians to judge how their patients 

1 look after layers of fat are removed and they are awake and ac- 

e again. Using local pain killers, cosmetic surgeons can see the 

^;ults as they work, giving them more control over the final effect— 

< serially when it comes to removing unwanted fat around the stom- 

i h, waist, knees, hips, and saddlebags. (The cost of liposuction av- 

' iges about $ 1 ,500 per site.) 

Unfortunately, bruising and swelling follow even the most skill- 
il procedures. So some physicians have begun to experiment 
'th the use of ultrasonic liposuction. Instead of sucking fat out 
I'ough a vacuum tube, Novack explains, doctors insert a thin 
i">e that produces high-pitched sound waves set at a precise fre- 
i ency to blast fat cells apart but leave surrounding tissue unaf- 

ted. "Ultrasonic liposuction literally makes fat cells melt away," 

says Novack. "The new technique does away with the pulling and 
tugging of vacuum liposuction, and it's far easier to control." The 
result, he claims, is less swelling and bruising. Although ultrasonic 
liposuction is already widely used in Europe, it has not been test- 
ed extensively in the United States, so its potential benefits have 
yet to be proved. 

Banishing scowls 

After years of squinting and stern looks, many of us develop per- 
manent scowl lines— small knots of creases between the eyebrows. 
Fat injections offer a temporary solution. But for a permanent fix 
surgeons typically perform a brow lift— cutting along the hairline, 
folding the skin back, and snipping the corrugator muscle between 
the eyebrows, permanently preventing it from contracting. The re- 
sult: no more scowl. (No more of any expression that involves the 
severed muscle, in fact— a concern that doctors brush aside without 
so much as a furrowed brow. "The whole point is that patients don't 
like the look those muscles create," says Helen Colen, a plastic and 
reconstructive surgeon on the staff of the Manhattan Eye, Ear, and 
Throat Hospital.) 

For those willing to banish scowl lines at any cost, advances in en- 
doscopic surgery have made a permanent fix easier than ever. Dur- 
ing the 1980s orthopedic surgeons perfected the use of endoscopes— 
tiny cameras and lights mounted in fiber-optic tubes that allow doc- 
tors to operate as if by remote control. Instead of making a long 
incision, surgeons make a half-inch cut and insert the endoscope. 
Through other tiny incisions they insert miniature surgical tools, 
guiding their progress by watching the image transmitted by the en- 
doscope to a television screen. The result: Complicated surgeries 
can be performed through small openings that require no more than 
a few stitches to close. 

Plastic surgeons are just beginning to explore the use of endo- 
scopic surgery. Instead of performing a brow lift to sever the cor- 
rugator muscle, for instance, Helen Colen makes three half-inch in- 
cisions at the hairline. She inserts a flat instrument that resembles 
the handle of a spoon into one of the incisions and uses it to gently 
pull the skin away from bone and muscle. The miniature camera 
and light are inserted through one incision, a scalpel and other in- 
struments through the others. Guiding them into position, Colen 
snips the offending muscle, removing a small section of it to prevent 
it from creating a knot of tissue, and closes the small incisions with 
a few small stitches. The procedure itself takes between 30 minutes 
and an hour compared with an hoUr and a half for a brow lift and 
can be performed under local anesthesia, according to Colen. And 
although there may be some swelling and discomfort as well as a lit- 
tle bruising, the technique results in less recovery time and scarring 
than a conventional brow lift. 

For reluctant scowlers who are unwilling to clip their corruga- 
tors, there's another option: injections of a deadly poison called bot- 
ulinum toxin. When ingested in large enough doses, the toxin caus- 
es botulism, which kills its victims by paralyzing the diaphragm mus- 
cles that enable us to breathe. However, physicians have long used 
botulinum toxin, or Botox, in very small doses to quiet muscular tics 
and even treat crossed eyes. Now cosmetic surgeons are using it to 
deaden the muscles that cause unwanted facial expressions. 

Two injections of Botox into either eyebrow can incapacitate the 
corrugator muscle for up to six months. The injections are quick 
and no more painful than getting a flu shot. (The worst pain is to the 
pocketbook: A single treatment with the paralyzing toxin can run 
as much as $500.) And despite its deadly reputation, botulinum tox- 
in really isn't risky at this dose. Cosmetic surgeons typically inject 
only about fifteen units of toxin. You'd need 1 ,000 times that M92 


Confessions of a I 


^1 ince the dawn of Sun-In, I have been a 
hair-color junkie. Il all began at the ten- 
der age of ten when I wanted to be a 
mermaid with long pale green hair clipped with 
clamshell barretles: instead of the mousy brown- 
haired girl that I was. From then on I've had 
the deep desire to periodically reinvent myself, 
to adopt personas by making my hair color re- 
flect my soul. I have had blond hair that said, 
"Come closer" and platinum hair that said, "I 
dare you." Red hair that said, in the immortal 
words of Alice Roosevelt Longworth, "If you 
haven't got anything good to say about anyone, 
come and sit by me." Black hair that said. 
"Ciao, bella" and purple-and-blue-streaked hair 
that said, 'Your rules don't apply to me." Hair 
that said. "Of course it's natural"' and hair that 
said, "Art e is everything." 

1 Ian -color technology has come a long way, 
but as a thirteen-year-old girl in the late seven- 
ties who fancied white go-go boots, purple leo- 
tards, and ponchos, my options were very lim- 
ited. With Charlie's Angels as my guides, I be- 
lieved blonds did have more fun and futilely 
begged my mother to let me try her hair color. 

Despondently I turned to Mademoiselle. 
which suggested fresh-squeezed lemon to turn 
m\ light brown hair blond. I lay out in the sun, 
pulp and lemon seeds dripping from my part, 
attracting flies and mosquitoes and neigh- 
borhood boys who didn't notice my bikini 
only the hysterical fact that 1 was juicing my 
head. Not exactly the reaction I was hoping 
for. Venturing to my local drugstore. 1 bought 
my first bottle of Sun-In. and with the help of 
im blow-dryer 1 achieved the kind of Farrah 
blondness I desired (and assumed the boys on 
the high school w restling team did too). 

In college I started highlighting my hair. 
Because it can cost as much as $200 to have 
this done in a salon and because 1 generally 
wanted to color my hair immediate!) after 
drinking several cocktails at a dull party or 
bombing a poli-sci test I began dabbling with 
"special effects" kits, beginning mj decade- 
long romance with Qairol and 1 'Oreal. I was 
most fond of Clairol's I rosl cV lip. which gave 
me dramatic results. Although 1 felt slightly 
mortified ever) time 1 lied on the rain-nonnet- 
style "designer frosting cap" covered with 
holes that I. or a sadistic friend armed with the 
crochet hook, was to pull the hair through so 
I wouldn't inadvertent!) color just one side of 


With toxic fumes and industrial- strength 

chemicals long gone, the most daunting asp 

of hair color now is deciding 

what image to convey. Elissa Schappell- 

naturally brown, formerly blond, 

and currently reel— charts her lifelong caret 

as a woman with a multiple-personality ma < 

my head— the pain and degradation seemed 
worth the reward of bright highlights. 

It wasn't long before 1 was streaking my 
hair with blue, purple, and green dyes. My 
friends rolled their eyes, and guys who already 
thought I was too odd to consider going out 
with were now convinced of my lunacy. 
Strangers stared at me as though I were an in- 
teresting insect— a fact that delighted me and 
made me wish I was brave enough to color my 
hair more often. 

Once out of college. I tired of being a stan- 
dard-issue streaky blond like every girl I went 
to school with. Platinum seemed to many two 
of my personalities perfectly: I wanted to be 
a Marilyn blond and an Edie Sedgwick blond. 
I wanted to be a dazzling starlet drinking 
champagne out of a high-heeled slipper as well 
as the chick with the white buzz cut who would 
just as soon bite you as tell you which wa\ to 
St. Mark's Place. I had my hair shaved down 
to the shortest of short and took the huge step 
into the dread world of home double process. 
I chose Clairol's Born Blonde Innocent Ivory 
because the model on the box looked exact!) 
the way I wanted to look: like a willowy ice 
princess. What I discovered, much to m\ dis- 
may, was that the color of the model's hair on 
the box doesn't necessarily have much bear- 
ing on what color your own hair will turn out: 
despite names like Blissfully Blonde and Hap- 
py Honey, there are no guarantees. 

One downside to having baby-chick fuz2 
w as that strangers begged to pet my head. 
Also, at the time I had just married, and peo- 
ple I'd never suspected of having a 1950s san- 
dals-end-black-socks mentality asked my hus- 
band. "Did she ask you before she did it'.'" as 
though I were his property. 

( totaling your hair adds a whole new di- 

1 1 

ti & 

mension to male-female relations. Aside 
my husband, men reacted differently t 
depending on the color of my hair. As a lib 
I was whistled at and approached mo ) 
strangers, but brooding men would not r 
bought the sun-streaked me an espresso 
life depended on it. Most men wouldn't t 
the redheaded me with a ten-foot pole 
with my short white hair I got nary a nod 
the male species— although I was pep 
with offers from females. 

After two years of living the albino pix 
I fell under the spell of Federico Fellini. j J> 
mesmerized by <V ' - and Ui Dolce I ila ar »\ 
film goddess Anouk Aimee with her depl I 
dark hair. 1 wanted black hair and all it »; 
lied to me riding motorbikes in Rome, ti I 
ing around dilapidated old castles, haul I 
the dreams of an Italian filmmaker. How r. 
my brief flirtation with a color I rememb ■ 
Black Velvet was both dramatic and ab; i) 
The dye darkened my scalp, and the flat 
made my already pale skin appear as \h\ I 
I were an exhibit in a House of Hair-Hoi »- 
Wax Museum. (Thankful!) I had used as • 
permanent black. Black dyes take a notoru J 
long time to grow out. and repeated apr. 
tions can give hair the matte color and te> b 
so favored by mope rockers and cartooi | 
queues like Josie and the Pussycats. ) 

While my desire for raven locks w as 
ing. my desire for glamorous hair was r 
was finished with white. I was bored 
blond. Black had been a dismal romp. Br< 
despite being Kate Hepburn's coulei, 
cheveux, was out of the question— after a 
most everybody has some shade of browr 
signs, inclinations, and gut feelings pointt 
red. the color I had feared most and yet loi 
for deeply. Rita Hayworth was a ► 

Untrue colors: Kate Moss 
proves everyone is 
susceptible to a new hue. 
Here she sports a spray-on, 
wash-out Day-Glo yellow— 
and a sculptural headdress 
Galliano. Hair, Julien d'Ys; 
makeup, Kevyn Aucoin. 

Fashion Editor: 
Phyllis Posnick 
Photographer: Penn 


As aqua aerobics becomes an increasingly cool way to exerci 
webbed gloves, foam dumbbells, buoyancy belts, ai 
other water-fitness gadgets are popping up in pools everywhet?. 

Toys in tow, Deborah Pike takes the pluni 

The Power Plunge aerobics class at New York's Vertical Club was no 
ordinary sweatfest. I was leaping and doing leg kicks through heavy wa- 
ter, but I wasn't wilting with perspiration. Nor was I feeling self-con- 
scious ah nrl whether my right leg was moving at the same time as the 
instructor's: after all, nobody could see that leg. 

A no-sweat, noembarrassment aerobics class? There had to be a catch 
Strength and leanness, I'd always assumed, followed sweat and aches. 
And because water aerobics is, by nature, a low- or no-impact workout, 
I ' ve always pegged it as wimpy— best reserved for the unfit and the over- 
55 set. Certainly not tough enough for me. 

I was mistaken. Not only were my Power Plunge classmates young, 
dedicated exercisers decked out in everything from goggles to a tie-dyed 
bikini, they outran me as we jogged up and down the pool. And when we 
were told to push bulky yellow plastic gadgets resembling hard hats through 
the water for upper-body toning, I felt like I was pumping concrete, bare- 
ly making a ripple in the water's surface. All around me my classmates 
splashed as they madly sliced their hard hats through the water. 

Once the exercise of choice for older, overweight, or injured adults, 
water aerobics is now attracting the gym-rat crowd. The main reason: 
boredom with the sweatmess, seriousness, and intimidation of land-based 
aerobics classes "I've taken high-impact," says 3 1-year-old Rachel Pinker, 
a scientist in Manhattan, "but 1 enjoy water much more. Everyone's hav- 
ing fun: it doesn't really mallei if you're not doing the moves exactly right." 

But could 1 really lone and tighten while splashing people in the face? 
For a variety of reasons, the answer was yes. Water is about twelve times 
more resistant than air, so moving in any direction in the pool is like 
pumping iron. The ke> is how hard you move. "The harder you push, 
the harder the water pushes back at you," explains Neil Sol, Ph.D.. a 
fellow ofthe American College of Sports Medicine. For beginners, wa- 
ter aerobics may not be so intense, however. "You have to figure out 
how to work the water." points out Julie See, president ofthe Aquatic 
Exercise Association (AEA). 

So how do land and water aerobics differ? First, because aqua ex- 
ercise is relatively stress-free ( the w ater reduces your body weight by 90 
percent if you are submerged to the neck), you will experience fewer 
impact-related injuries and ma\ be able to achieve a greater range of 
motion than you could on land. "1 have students who can work out 
much harder [in water]." notes See. ■"The intensity on land can be lim- 
ited by the amount of stress you can take." Another key difference: 


Your heart rate can be about 1 3 percent lower when you are submeB 
But this doesn't mean a pool workout is less effective. "The reaso« 
don't get a high heart rate is that your heart doesn't have to worfl 
hard to cool the body." explains Sol. "The workout merely won 
perceived as strenuous because ofthe water's cooling effect." A« 
suit, you can work out for a longer period of time in the pool and ac w 
the same results that you would on land. 

As far as strength training goes, water may actually be bettei ai 
land. It's safe even for beginners because it provides only the arrfl 
of resistance you create, and it provides resistance throughoiB 
range of each move (no dropping the weights in this exercise). 

Still, I want to know: Can you bum the same number of calories i m 
ter as you can <...i land? June Lindle, a Cincinnati-based exercise phi 
ogist on the research committee ofthe AEA. says perhaps not. "Or« 
you burn more calories per minute because it's primarily a weight-^ 
ing activity," she explains. But, she continues, "research shows that i ■ 
ter. you use a higher percentage of fat as fuel for your workout as opfj 
to muscle glycogen [a sugar]." The reason is not known, but one tl 
is that a reduced heart rate tends to stimulate the body to use more 
a fuel source for exercise. And like any resistance workout, water 
cise gradually increases your ability to burn calories, simply by b 
more calorie-hungry muscles. 

The new interest in water and its workout potential has na 
spawned a gaggle of gadgets designed for use in the pool. Slyrol 
dumbbells, foam flotation belts, webbed gloves, pool shoes, and ; 
and wrist cuffs are all meant to add even more resistance to watei 
ready weighty environment or to help keep you upright so you 
cuson walking, running, or toning specific muscles in deep water. 
\ ou're overloaded with resistance, you have to go somew here." sac 
ol Kennedy, an exercise physiologist and chairperson ofthe A 
search committee. "You need the gadgets to progress 

Some of these toys are provided in gym-based water-aerobics 
es, but they're mostly for your own private enjoyment. To fin 
which ones are useful and which are just colorful junk, I quizzed ( 
lotte Norton, a Salt Lake City trainer who has reviewed the rese| 
on water-fitness gadgets, and asked other experts for their opi: 
Then 1 took to the water with three trash bags full ofthe equipi 
accompanied by Jane Rat/. F.d.D.. who has written five books o 
ter exercise. Here's what 1 learned: • 

C *i V o 


i % 



Webbed gloves, 
ike Hydro-Tone's 

rubber version 
ictured here, are 
designed to build 
per-arm strength 
nd make a water N 

orkout tougher. 

Sittings Editor: 
Phyllis Posnick 
ptographer: Penn 


"I like to turn up the volume as loud as it can go," says Marc Jacobs, 

who in a brilliant comeback collection uses shocking-bright splashes of color 

to give seventies-era elements-including leopard spots, tailored 

pinstripes, leather jackets, and sequined shine-a brash, seductive, 

thoroughly modern look. Photographed by Steven Meisel 

"I liked the idea of doing a tailored suit, but doing it the 
wrong way." says Jacobs of his cut-on-the-bias pin- 
striped pantsuit. this p^ge. Pushing it even further from 
classic: a neon yellow halter in latex rubber. Jacket 
(about $970|. pants (about $680). and halter (about 
$585). Bergdorf Goodman: Neiman Marcus. Beverly 
Hills: I. Magnin. opposite page: Jacobs mixes an above- 
the-knee-length skirt with spike-heeled sandals, a 
fedora hat, and a lemon-colored leather jacket— an 
eclectic combination that exudes what the designer 
calls "a perverse sense of chief Jafcket. about $1,700. 
Marc Jacobs for Birger Christensen. Sweater (about 
$395). and skirt (about $480). both by Marc Jacobs. All 
at Bergdorf Goodman: Bloomingdale's: Ultimo, Chicago: 
I. Magnin. Details, more stores, see In This Issue. 

Fashion Editor: Grace Coddington 



"It drives me era/, 
people talk abou 
trend or a luxui 
"I love color, and I don : 
think of it as being 
out of fashion, 
puts a twist O! 
pairing blinding seqi 
with a just-as-vib: 
jacket. Jacket, about S 
Marc Jacobs foi 
Chnstensen. Shir 
$540) and j( 
$1,060). both by Marc 
All at Bergdoi- 
Ultimo. Chicago 
Jacket and pants 
Continuing the color rrn 
into evening. Jai 
what could hav 
another little black drc 
revs it up v> 
rhinestones. I 
$1,060. Bergdo: 

Chicago: I. Magnm. K 
skin soft-and s 
Elizabeth Ai 
Difference ' 
Formula Body C 
fragrance. In this 
Garren of Garrer 
Francois Nars. Detail 
stores, see In 

colorful characte. 






Further proof tliat fashion's spirits are lifting: 

Diamonds once the most staid of stones-are showing off 

a less serious side, glittering across a whimsical array 

of pins and pendants. And the light touch is extending 

to other accessories as well, as high heels 

and hand hags pick up the glint of 

glossy w I lite patent leather 


Having a good time with diamonds, 
this page: Designer Marc Jacobs, who 

created these rock-encrusted 

numbers for his first jewelry collection 

(to spell out an anniversary, age, 

or phone number). Marc Jacobs for 

Charles Turi. Neiman Marcus, Beverly 

Hills, opposite page: More high-shine 

accessories— a ladylike bag and 
the spike-heeled shoe of the season 
get their edge from ultraslick patent 

leather. Bottega Veneta bag, 
about $600. Bottega Veneta stores. 

Manolo Blahnik shoes, about 

$395. Bergdorf Goodman; Manolo 

Blahnik, NYC; Neiman Marcus. 

Details, see In This Issue. 

Fashion Editor: Candy Pratts Price 
Photographer: Cindy Palmano 


Jacobs shoots for the moon, 

creating a pave diamond 

crescent and stars, this page, 

which can be scattered across 

a sweater or hung as 

pendants. Marc Jacol.s for 

Charles Turi. Neiman Marcus, 

Beverly Hills, opposite page: 

In the latest evolut jfthe 

Gucci loafer, th ^nature 

shoe grows a s , stiletto heel. 

j classic counterpoint? 
A trim handbag in supple off 
white leather. Shoes, about 
$295. Gucci shops. Gianni 
Versace bag, about $990. 
Gianni Versace boutiques. 
Details, see In This Issue. 




Short OJJSwee 

Two shapes now turning up virtually everywhere for fall:| 

the textured sweater cropped close to the body 

and the flirty A-line skirt— often brightened with a potenl 

dose of color. Enhancing their inherent 

sex appeal here: ultimate sweater girl Claudia Schiffer 



fur flies on a yellow cardigan, 
this page, that's collared with 
burst of Tibetan lamb, and 
swear tweed takes a feminine 
ction with a supershort button- 
ont skirt. Wool-and-cashmere 
reater (about $1,200) and wool 
i t (about $330) by Marc Jacobs. 
:iman Marcus, Troy Ml; Ultimo, 
licago; I. Magnin. opposite page: 
ilph Lauren gives the new look 
I classic twist, with a slim-fitting 
German's sweater and a minikilt 
nat has the season's favorite 
| fuzzy texture in colorful plaid 
phair. Ralph Lauren Collection 
tleneck sweater (about $295) 
| id skirt (about $365). Bergdorf 
(oodman; Polo/Ralph Lauren, 
Kp. Hair, Orlando Pita for Bumble 
ejj Bumble. Details, more stores, 
see In This Issue. 

J Fashion Editor: Brana Wolf 
liotographer: Pamela Hanson 



Equal parts sex kitten and schoolgirl innocent, this page: The T-shirt-simple sweater in neon pink mohair. 

Sweater by XOXO, about $60. Bloomingdale's; Macy's Herald Square. Skirt by Donna Karan New York, about $450. 

Bergdorf Goodman, opposite page: Leopard leaps back into the spotlight on a velvet A-line mini that 

showcases a long stretch of nude-colored leg, played against the glow of orange mohair. Michael Kors skirt, 

about $275. Henri Bendel; Georgina, Hewlett NY; Marissa Collections, Naples FL. Adrienne Vittadini sweater, 

about $170. Saks Fifth Avenue; Adrienne Vittadini Boutique, Beverly Hills. Giving hair a bright sheen: 

Revlon's Outrageous Shimmer & Shine Gel Mist. In this story: hair, Thomas McKiver for Bumble and Bumble; 

makeup, James Kaliardos for M.A.C. Details, more stores, see In This Issue. 


W' it 

i * 





You're a 


of the 




Bold, self-assured and empoi 

Climbing the ladder of success at 

and the StairMaster™ at the gyi 

You're socially aware and politically coi 

But you probably know all this already 

because every ad and magazine 

has told you a zillion tllTl 


you ' re 

Cool, Crisp, Cleai 

OBey Your Thiil 

©1994 lh» Coca-Coll Company 'diet Spfita'amTObey Your Trtirsr ate Iridemaiks ol The Coca-Cola Company 
SlauMastei is a trademark ol SUirMasiei Sports/Madtcal Pioducts. \k 

blooms' day 

In their newest arrangements, 

the world's top floral designers are 

forgoing fantasy to concentrate on 

essence of flowers. Hamish Bowles 

picks the cream of the crop 

Simple, natural, and unpretentious, the newest designs 
from modem-minded florists reflect a streamlined aes- 
thetic. Overscale formal arrangements have gone the 
way of fussy window treatments and fancy paint effects. 
Floral and party designer Robert Isabell believes that 
the nineties direction is uncomplicated "do-it-yourself' 
flowers— perhaps it's just as well that this fall he's branch 
ing out with a line of his own perfume and room scents 
"I sort of did something that anybody could do," he says 
of his arrangement of cornflowers and Canterbury bells. "It's 
the simplest, easiest way for novices— one or two flowers that 
are monochromatic; there's nothing difficult." 

Paris's new designer Marianne Robic concentrates on vivid 
colors in bright containers. London's innovative Paula Pryke, 
whose informative book, Flowers, Flowers!, is pub- ►! 80 

statement (1) For 
ne a la Campagne in 
peppers serve as 
for nectera, 

i, and double 
.; (2) in Los 
les, Michael 
dicto creates 
letric shapes 
his rose ball; 

ills a 
ilner with 
lowers and 
srbury bells; 
inne Robic 
s artichoke 
s with apricot 
and lilacs in a 
ilanter. Details, 
i This Issue. 

UE JULY 1994 


lished by Rizzoli, bundles flowers together with surprising vegetables and bciiev 

that "although we're all doing more diverse things, there is a focus on more 

sophisticated statements and sculptural stark looks. People are excited 

by the use of daring color." In Paris, Comme a la Campagne also 

imaginatively mixes flowers with vegetables, even filling peppers 

**-" *■ with double tulips and gloriosa. 

In Los Angeles, Michael Venedicto sets many of the top par- 
ty tables with geometric shapes made of flowers— a cornflower 
cube, a red-berry pyramid, or a ball of roses. In New York. Op- 
pizzi & Company gives a modern spin to traditional arrangements 
via unexpected juxtapositions (azalea with hydrangeas, lilacs, ros- 
es, and viburnum branches). 
In his exquisite Upper East Side shop, Lawrence Becker places 
rare old English flowers such as auricula and veltheimia in simple clay pots 
or creates a lush sphere of lily of the valley. "I like flowers when they look un- 
real in their perfection." he notes. Manhattan's Miho Kosuda brings out the beauty 
of calla lilies or color-shaded anemones by twisting their stems in plain glass vases. 
VSF (Very Special Flowers) in New York City places explosions of a single type of 
flower in unusual containers. Says Jack Follmer, of the shop. "We' v e always believed 
in the honesty of something— certain wonderful flowers speak for themselves" 

Paris's Christian Tortu continues to create country -inspired bouquets using bram- 
bles and wild grasses mixed with the blossoms. Sculptor Gerd Verschoor. who com- 
poses conceptual pieces of flowers, fruits, and vegetables for Man- 
hattan's Le Madri restaurant, takes a more 
radical approach to getting back to nature- 
such as filling a futuristic CD holder with moss 
and grasses. Says Verschoor, "I like the idea of turn- 
ing everyday items like grass into sculptures."* 

Fresh take: (1) 
Manhattan's Miho 
Kosuda groups 
multicolored anemones 
in a clear-glass vase; (2) 
VSF fills an antique 
Chinese bronze vase with 
fritillaria persica: (3) New 
York-based Gerd 
Verschoor transforms a CD 
holder with grasses and 
moss; (4) in Paris, Christian 
Tortu combines artichoke 
leaves, double tulips, 
brambles, meadowsweet 
and wild grasses in a country 
bouquet; (5) a semisphere of 
lily of the valley by Lawrence 
Becker of New York; (6) 
Miho Kosuda mixes garden 
and old English cabbage 
roses; (7) Michael Oppizzi of 
New York blends lilacs, 
roses, hydrangeas, and 
azaleas with viburnum 
branches in a classical urn. 
Details, see In This Issue. 




from this moment on... 



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The way you wore your makeup a decade ago is not the 
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beautiful woman you've become. 
Let Forever Beautiful be your guide. 





k EDITORS' ., 

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talking fashion 

17 -"tor: William Norwich 

Bracco and 
He Peters 


Judy Peabody, Lynn Wyatt, 
and Jessye Norman ^ 
at Bill Blass 



hi, style 

The recent fashion week 
in New York provided 

a three-ring social circus — 

if it didn't, why bother 

in the first place? 





Bryan Ferry 


Joan Juiltt Bui 





Fashion flash: From her 
runway perch, New York-based 
freelance fashion 
photographer Cheryl A. Dunn 
stole unofficial daily best- 
dressed awards. Her secret? 
"I won't buy anything that 
costs more than $5 at the 
Salvation Army. If you don't 
like it, you donate It back." 
Even If she woke up one 
morning rich enough to afford 
couture, Cheryl says she 
wouldn't bother. "I'd probably 
wear ft once, then cash it In 
for a camera."* 


talking fashion 

Optical alert: Tatiana von 
Furstenberg (far left) and Marian 
Carey (center) crown the kilt crew; 
Naomi Campbell (second from 
right) and Zoe Cassavetes (far 
right) lead the striped set. 


amee GregoM 


Checked out 

'i \r. 



j II i 

plaids and 
stripes forever 

Basic black makes way for 
the latest geometric explosions 

It wasn't only on the runways of Vivienne Westwood, 
Todd Oldham, Xuly Bet, Martine Sitbon, and Christian 
Francis Roth that powerful plaid prints and stripes made 
their debut. The eye-bogghng message was trumpeted 
by an assortment of trendy types who attended the fall 
fashion shows. What does it mean? According to fash- 
ion theorists, pattern and color become fashionable 
whenever there is a strong counterculture movement. 
Pucci caught on in the hip and happening 1 960s. for in- 
stance, and now all this. Signs, perhaps, of radi cal lim es 
on the horizon?* 


Burberry beauty 



%k *J 

^ ' 


Mad for 







"*■* ■ 











_ •■ -^ 

# 4 

** < 


By Athena Starwoma 

After a long ran of astrological doldrums, life should now become more bit 
some. Inspiration will return, either In an extreme, blockbuster way or 
less dramatic but still noticeable manner. At the very least, that panicky f 
Ing that you may have been prey to recently will abate. With Jupiter (the , 
fortune planet) and Mercury (the communication energy planet) back In ' 
it will become easier to feel enthusiastic again. 

Since 1989 (and continuing until 1996), Cancers have been transiting 
of the deepest transformative periods of their lives. Each experience 
confront during these years will give you an opportunity to move Into 
levels of consciousness. Because of the shifts and pressures surrount 
Cancers now, you may lack your usual inner vision. Instead of seeing 
you are being compelled to progress, you may Just focus on your sti 
es. But these stresses represent growth pain, the most enlightening 
pain. Have faith. The future promises bounties that you cannot even 
motely Imagine. 

CANCER (June 22- July 22) 
Kudos, money, or some form of recognition is coming your way this month. Life will 
ticeably improve too, once something that has been delayed or a problem that has hoi( 
ed you for a long time (a test, a business deal, or a career or relationship difficulty) is 
solved. All manner of things will occur now to help you get up and going again. Bu 
make the most of this month's potential, you must be alert. To help clear any "br 
noise," July is an excellent time to fast or diet, abstain from alcohol, and clean up y] 
act in general. 

LEO (July 23-August 22) 
This month confusion surrounds joint ventures, particularly those with any finan 
sharings. Resentments or even legal wrangles could arise if everybody concerned i 
made fully aware (down to the letter) of her obligations and what is required in the si 
and long term to fulfill her part of any bargain. During July, if deals are being struc 
is imperative that you are concise, professional, and diligent about the way any arrai 
ment is handled. 

VIRGO (August 23September 22) 
While July offers all kinds of promising opportunities for Virgos, its first week is a | 
sured time when you could say or do things that may turn out to spoil the otherwise 1 
potential of this month. With your ruler, Mercury, out of phase until July 7. be patient- 
you don't need to be patient for long! From July 1 1 , Venus (the love star) is radiating it| 
licitous light upon your sign. Through August 8, networking, romancing, and sociali 
could prove the pick-me-up tonic your spirit craves to be able to soar again. Don't hie 
the wings position yourself center stage. 

LIBRA (September 23-October 22) 
Fence-sitting Librans are inclined to postpone the inevitable. However, what is hapr. 
now is teaching you that taking direct action is not only smart but necessary for survij 
Until Librans learn that pretending an ordinary rock is a precious gem won't make it f 
you will keep getting ordinary rocks. Like a record stuck on a refrain, the Libran inner 
is telling you what you need to do and how to do it. Because denial stops you from hea 
the message, history keeps repeating itself. 

SCORPIO (October 23-November 21) 

The energy created in July by the shifting of Scorpio's planetary pattern (Jupiter mov 
from retrograde to forward motion in your sign) will have a conspicuous effect by creail 
a change in your momentum. Recently you have been like a car that has needed to wait. j 
gine running, for the traffic signal to change; this month the astral-planet light change 
green for Scorpios. You are about to surge forward again with a vengeance. Several ; 
of your life should be positively affected at once, particularly career success, health, 
tionships, and your awareness of life around you. 


i 1 1 ■ i v i 

SAGITTARIUS (November 22-December 21 j 

:e Scorpios. Sagittarians are also about to receive a boost of positive energy from 
uter. Although not exactly perfect in all areas. July's events should provide a well- 
:ded breath of fresh air in terms of the general flow of your life and the glow of your 
er radiance. July promises to be a groundbreaking, invigorating month. Areas of 
ir life that previously resisted all improvement efforts will now do a 1 80-degree turn. 
goals, prioritize your activities, and utilize this new positive energy to create your 
n brand of miracle. 

CAPRICORN (December 22- January 19) 
ur sign has been singled out this year to experience two full moons— a rarity, as the last 
i times this occurred for Capricorns were in 1975 and 1986. Because the moon repre- 
ts the female side (emotions, family, innermost sensitivity, and nurturing), the fact that 
i have a double full moon blast this year suggests that these personal aspects of your life 
extremely important. In July watch your responses and reactions. Fears, guilts, and 
ibts that erupt now could prove illuminating. This is an opportunity to glimpse where 
i may be sabotaging your own progress. 

AQUARIUS (January 20-February 18) 
!e a bird whose wings have grown weary after flying around day after day seeking a safe 
be to make its nest, most Aquarians have been feeling wearily displaced or unsettled over 
liething (or someone) in their lives for quite some time. This situation may take the form 
l problem with your living situation, a career uncertainty, or even a relationship letdown, 
least one area of your existence is currently out of balance, but July offers an ideal time 
i turning this feeling around. Focus now on the voids in your life, and realize that any 
is you take will be supported by the Universe. 

PISCES (February 19-March 20) 
significance behind the phrase '"all good things come to those who wait" should now 

lome. The past five months of stormy trials and tribulations will not seem so turbulent 
lore. As you lose your fear of the dramas that churned up your life, you'll recognize 
you have not lost ground but gained it. You can empower yourself by acknowledging 
when you appear to go through testing times, hindsight often reveals you have actual- 

een greatly blessed instead. Pisces, be grateful for your challenges: They press you to go 
re you are meant to be. 


ARIES (March 21- April 19, 

are currently going through a period of metamorphosis and have had to face facts 
ut yourself, particularly about the role you play in other people's lives and the roles 
. play in yours. Costly experience has taught you to avoid relationship situations that 
't serve your higher purpose. July's events will reveal how much wiser and stronger 

are now and will help you appreciate how much you have learned from the problems 
ers have caused you. By example, others have shown you what you don V want to be 
. This can be the greatest of all lessons. 

TAURUS (April 20-May 20) 

w you know in very clear terms how much other people can make or break you. 
ether this lesson has been learned in an obvious or a subtle fashion, your stars indi- 
: that those around you who have been complicating or trying to run your life will lose 
r power over you this month. You are free to return to the driver's seat. In any per- 
al or professional areas of your life, it will now be much easier to let go of sensations 
lependency or codependency. Make new plans, new friends, or whatever else needs 
ewing now. 

GEMIHI (May 2 hJune 21) 
:ause of their dual personae, many Geminis feel safe only when they have two of every- 
lg: two homes, two lovers, two jobs, or two lifestyles. But the recent run of eclipses has 
igned your values and the two sides of your personality. Now you are closer than ever 
eing the "whole you." As this month begins a new cycle, you will feel in control, more 
ain. and clearer in your outlook. July is a v ,c time to clean out your emotional, psy- 
logical, and physical cupboards. When you 10 this, don't hold back. Adopt the gung ho 
ude of out with the old and in with the new ' • 




how to go 

[71 Buckingham Palace and 
— London Highlights This coach 

tour of London includes 

admittance to Buckingham Palace. 

Tours run from August 9th through 

September 20th, 1994. 

where to stay 

I 19 9 4 


The Stafford Hotel, London 

Located in the Mayfair district, this 
hotel is close to the St. James 
district, theaters, and shopping. 
Guests are guaranteed tickets to 
Buckingham Palace. 

Villa De Belieu, St. Tropez, 
France A privately owned 18-suite 
villa with a Roman spa set in a 
vineyard on the French Riviera. 

Palazzo Belmonte, Santa 
Maria De Castellabate. Italy 

Romantic southern Italian resort 
located near Paestum, a renowned 
archaeological setting. 

La Casa Que Canta, 

Zihuatenejo, Mexico Perched 
on a cliff on the Pacific coast, La 
Casa has 18 deluxe suites. Guests 
enjoy the 18-hole golf course and 
deep sea fishing. 

Club Med— Bora Bora This chic 
new resort overlooking a crystal 
lagoon offers French and Asian 
cuisine, scuba diving, reef cruises, 
and safaris', 

|T| Twin Farms, Barnard, Vermont 

Five cottages and four suites com- 
prise this antique-filled American 
version of a British country house. 

Chateau De Bagnols, 
Bagnols, France In the heart of 

the Beaujolais countryside, this 
restored 13th-century chateau 
offers hot air ballooning, carriage 
rides, and wine tastings. 

Amanwana, Moyo Island, 
Indonesia Luxurious nature camp 
on an island east of Bali, with 
air-conditioned tents overlooking a 
secluded cove. 

Please check the brochures you would 

like to feceive and return this coupon to 

VOGUE. July Coupon, P.O. Box 

o, Riverfon, NJ 08077-7206, 

before September 1 , 1994. 

Please enclose $1.00 check or money 

order to cover processing. Offer good only 

in the U.SA and Canada. Allow at least 

six weeks for processing. 

n ame 

city 3 

stat _ 

Ve're sorry. £>ut VOGUE 

cannot answer any personal questions 

or requests. 


(Continued from page 162) 
redhead; so were Amelia Earhart, Margaret 
Sanger, and Lucille Ball. Although Lizzy Bor- 
den temporarily gave redheads a bad name, 
it seemed marvelous company to be in. 

After thirteen years of bleach and chem- 
icals, I finally opted for the natural approach: 
henna, Mother Earth's red zinger. I picked 
up a tin emblazoned with a kohl-eyed mum- 
my and hieroglyphics; fortunately, the di- 
rections were in English. I simply added wa- 
ter to the powder and smeared the vegetable- 
smelling paste on my head the way women 
squatting on riverbanks have been doing for 
centuries. Henna made my hair feel soft, but 
the color was too orange for my skin tone 
and faded faster than I would have liked. 
While henna and other natural dyes don't 
penetrate the hair shaft, they do coat the hair, 
eventually weighing it down and causing a 
dull appearance. "You can't make hair 
lighter with vegetable color," explains Brad 
Johns, color director at the Oribe salon. 
"You can only make it darker, more red or 
more gold." 

But I wanted a deep, rich red. I bought 
L'Oreal's Performing Preference Hair Col- 
or in Midnight Burgundy. Mixing the de- 
veloper and the colorant in equal parts, I con- 
cocted my color and applied it to my hair. 
Then I panicked. 

The color of the mixture on my head was 
nothing like the color I wanted my hair to be. 
So I rinsed it out— big mistake. First of all, 
the color of the mixture while it is develop- 
ing has no bearing on the final result. And it 
is important to leave it on your hair for the 
full recommended time. The wine-colored 
tresses I'd hoped for were a listless rust. I 
made several more attempts, variously 
achieving the cherry color of 1 970s Cadillacs 
with suicide dr -s and the metallic plum of 
a Lincoln C ontinental with smoked windows. 

I never in agined that coloring my own 
hair would lose it >ppeal. but I was tired of 
two-toned hair ai. >iple asking me, 
"Wow, is that your real color?" as though 
they felt sorry for me. And my latest color- 
ing foray hac nade my complexion look a 
little green, I was harbor: ig some exot- 
ic parasite. It lear I needed guidance; 
I decided to bt u p and finally have 
a professional <. This pleased my 
mother, who, thou^ ' by my evolv- 
ing hair colors, was dei accompany 
me to her salon— Sale ^minic in 
Hockessin, Delaware— to a some- 
thing natural-looking." 

Andrea Mattei, the colorist. ,, nted 
my choices on a big key chain festo*. 
ponytails of what felt like Barbie hair, 
was a coppery color that resembled a cc\ 
penny, a chestnut brown that seemed \o. 
buttoned-down, and a port wine that I was 
afraid I couldn't wake up to day after day. I 

picked a beautiful fiery red lure. Andrea 
shook her head and held the little tail up to 
my face. The shade made my skin look sal- 
low—now I had scurvy. Together we settled 
on a spicy cinnamon color (a color actually 
found in nature). 

There is something nice and immediate- 
ly gratifying about being able to just up and 
change your look in the privacy of your own 
bathroom. And there is a lot to be said for 
bonding with a trusted volunteer— such as 
my friend Eddie— who is willing to help rub 
Vaseline along the edge of your hairline to 
protect your face from the bleach and who 
won't laugh later when you look like a frost- 
ed doughnut. I wouldn't trade my afternoons 
discussing sex and Sal Mineo with Eddie for 
a king's ransom of Aveda Curessence. But 
having your hair professionally colored cer- 
tainly has its own charm. 

Recently, having lived for almost eight 
years in New York City, I made the trek to 
the Louis Licari salon on Madison Avenue, 
where cute boys bring you coffee and pin you 
in your seat under heaps of fashion maga- 
zines. Louis Licari, a world-class colorist, in- 
sists that hair color is finally coming out of the 
closet. "It isn't 'Does she or doesn't she?' any- 
more. It's 'She does, and she looks great.' " 

Comforted by this news, I told Louis I 
wanted red. Hollywood red. In a little over an 
hour, Louis painlessly gave me a beautiful, 
warm color that was consistent over my entire 
head (no mean feat for me) and looked nat- 
ural. As I walked out of the salon, I was think- 
ing, "This is it— my perfect-till-I-die color." 

However, old habits die hard. It's been a 
month since I visited the salon, and I'm get- 
ting restless. I think. Maybe I could go 
brunette. Brunettes are notoriously danger- 
ous, deep thinkers. Heaven knows from time 
to time I've felt the spirit of Myrna Loy play- 
ing the fabulous Nora Charles as I toss back 
a dry martini. And what a role model Ros- 
alind Russell is as the marvelous, life-em- 
bracing Auntie Mame. Mame is right, I 
think, co-opting her motto: Hair color is a 
banquet, and most poor suckers are starving 
to death. Tomorrow I become a brunette.* 


(Continued from page 164) 

Dumbbells and other handheld devices. 

These lightweight gadgets, usually made of 
foam, are designed to work upper-body mus- 
cles in the more forgiving environment of 
water. They can also be used for support 
v\ hen you're in the deep end and working on 
lower-body muscles. 

Closed-cell foam dumbbells are best, as 
any other type of foam tends to get moldy. 
Before buying, grip the bells to make sure 
they fit your hands. Ideally you should try 
^>ut dumbbells in the pool before buying. 

hat's where a class using the equipment 
c uld come in handy.) 

Since most of these devices don't o 
way to change the resistance (it's not lii 
ing able to reset a Nautilus machine), \ i 
need to look for ample resistance for i 
fitness level. Exercise neophytes could i i 
themselves by using dumbbells that ar t 
large; fitness mavens might not be chalk t 
by the smaller devices. If you're the Pcm 
type, try Kytec's large-size resist* 
"buoys." foam dumbbells covered in o 
(S 1 6.95); Sprint's maximum-resistant A 
Bells (S25.99); or Hydro-Tone's plastidj^ 
dro-Bells (S54.00), which resemble harcjfc 
with vents. 

Those who are more, well, strength ■ 
lenged (myself included) might try SprA 
minimal- or medium-resistant AquaB 
($25.99) or AquaJogger DeltaBells (S2A 
which feature a foam triangle on either* 
The DeltaBells let you vary resistance™ 
intensity with a simple turn of the wrisflj 
easier if you move the pointed ends am 
triangle through the water; it's more diffl 
if you use the flat sides, because surfaceB 
is increased). 

Watch out for dumbbells that are took 
gety (they might require an engineer fcB 
sembly) or too wimpy (they're most lAr 
plastic— rather than foam— and look as if ■ 
could snap in half if dropped). 

Pool shoes. Shoes and boots are meastc 
add intensity to a workout by increasing 
surface area of your foot and leg. UnfdB 
nately some of these shoes— particularly 
foam ones— are too light and flimsy to I 
much resistance to a pool workout. Loow 
more substantial gear, like Hydro-Tow 
Hydro-Boots (SI 04.95). intimidating, ant 
like devices made of black foam and yefl 
plastic. The Hydro-Boots may seem cluM 
at first (they kept slamming into each ol 
as I did leg lifts), but they provide a greafl 

Other shoes simply provide better It- 
ing in the pool. "The better, more sure \fl 
footing is, the harder you can push agafl 
the water's resistance," says Lindle. Ag{ 
choice: Speedo's Aquatic Exercise SI 
(S30.00). which are like slippers with he 
rubber bottoms. 

Step. Yes, there is such a thing as a<M 
step aerobics. Speedo makes a bright p 
plastic adjustable step with vents (S99. 
that you simply drop in the water; it sink 
the bottom by itself. But it doesn't ah 
stay there. "It floats around if there's i 
of turbulence in the pool." says Nort 
"The supports need to be weighted." 

If you can get the step to stay put. h< 
ever, it offers a good, safe workout. A s 
en-week study of water aerobicizers at 
University of Wisconsin-La Crosse shov 
a 12 percent increase in the exercisers' a 
obic capacity and no injuries. In a separ 
study of land step aerobics, exercisers 
creased aerobic capacity by 1 1 perccr 


5 out of 22 people suffered injuries. 

Buoyancy belts. These tire-shaped foam 
.-ontraptions wrap around your midsection 
md keep you afloat so you can exercise 
onger in deep water. "You could tread wa- 
er in my class, but your arms would get tired 
After a while," says Aleeda Crawley, a New 
Vork instructor. 

When searching for a buoyancy belt, 
nake fit your top priority. Belts can be too 
ight or large, and some women complain 
hat they ride up into their breasts. My fa- 
vorite is Speedo's belt ($45.00), which comes 
n two sizes and is glossy and soft. Other wa- 
er exercisers prefer the Aqua Sprinter Belt 
$34.99) and the AquaJogger ($29.95 to 
(s59.95), which is bulkier but provides more 
back support. 

Webbed gloves. Designed to increase the 
Surface area of your hands and thus give 
irms a better workout, these are especially 
^ood for balanced muscle building (biceps 
ind triceps need to be equally strong to sta- 
bilize the joints). Some webbed gloves are 
oo flimsy to do the job, however. The best 
hoice is a pair made from neoprene; they 
last longer than Lycra or rubber ones. (Iron- 
cally, some materials used in gloves tend to 
lisintegrate in water.) And remember that 
>ecause these gloves are designed to keep 
ihe water out, they can be difficult to put on. 
Speedo's SwimMitts ($30.00) are a wise 
phoice; one version even allows you to vary 
he gloves' resistance— there are pockets 
ibove the fingers for weights (included). 

Ankle and wrist cuffs. Just like weights for 
unning, these are meant to make your work- 
out tougher— and they're equally controver- 
ial. "I don't like putting things on ankles," 
Zarol Kennedy of the AEA says. "It's un- 

atural to have extra resistance on the feet. 
Tiey're only good for an advanced workout." 
Cuffs can slip and slide, so look for ones 
vith stirrups to hold them firmly in place. I 
ike Hydro-Fit's neon pink nylon Buoyancy 
k Resistance Cuffs ($49.00), which are filled 
vith a Styrofoam-like material, and Sprint's 

oft foam cuffs ($34.99). Although the Sprint 

uffs seemed to stay put better, Hydro-Fit's 
jj ersion was more versatile. You can change 

I heir resistance and buoyancy by removing 
oam, and you can even use them around 
our waist. 


|Vater-fitness gadgets aren't for the novice 

Jiymph. And even after you've become com- 
lortable in the water, keep in mind that a 
vorkout should be started and finished with- 
>ut them. "You should stretch your muscles 
•efore putting them in overload," says Katz. 
But gadgets are only part of the water- 
itness equation; they're the icing on the 
ake. For me the best part about aqua aer 
>bics is the postworkout high: I was sweat- 
ree, refreshed, and ready to face the work 
f gravity. • 



(Continued from page 138) 
bone of my wardrobe for the next ten years. 
There was another aspect to me now, a cer- 
tain focus that hadn't been there before, 
and it was emphasized by what I wore. This 
quality of amplification is what expensive 
clothes do for you: You look something like 
a contender. In the sixties I would have 
thought that projection of strength was 
death to sex. It probably was, then. But not 
in the pushy seventies. 

In the eighties life seemed to promise 
everything we wanted, and so did fashion. 
This was the decade we started going to the 
gym, going for the burn as fashion achieved 
maximum stretch. Tiny dresses and skirts 
seemed to add another six inches to our legs. 
Donna Karan gave us the stretch unitard, 
the foundation for her philosophy of svelte 
glamour for hard-pressed professional 
women. In Paris, Karl Lagerfeld quickly 
identified legs as the whole point of the eight- 
ies, and it was left to Kaiser Karl, in com- 
mand of three fashion empires by 1983, to 
reinvent the only uniform of the decade, the 
unserious Chanel suit with a skirt that dis- 
appeared up the hem of its jacket. 

I happily embraced the return of Chanel, 
because back in the sixties I first bought an 
update— a passable ready-to-wear copy— of 
the suit that Coco Chanel herself wore the 
day she skipped off the Duke of Westmin- 
ster's yacht in Cannes in the early twenties, 
reaching into a pocket for her cigarettes and 
horn-rimmed sunglasses. She was wearing a 
short white-and-navy pleated jersey suit that 
accentuated her deep tan. I thought I looked 
pretty good in that suit, but never more so 
than after my summer holidays, when I had 
a suntan. Snap, Coco! 

Not that everything in the eighties had to 
be as pricey as Chanel. One of my favorite 
garments, then and now, is my son's black 
Westminster School jacket. He outgrew it at 
fifteen— he was already six feet tall— and it 
was so flattering I even wore it out to dinner, 
with a gold T-shirt and tight black pants, at 
La Colombe d'Or in St.-Paul-de-Vence. An 
eminent novelist and his wife were taking me 
there to dinner, and as the writer, a man of 
breathtaking gallantry, escorted us into the 
dining room he said that he had with him the 
two most beautiful women in France. Not 
bad for a schoolboy's castoff. 

The wind of liberation blew hard in the 
eighties, but it blew in all directions. You had 
to be a suit in the day and a pouf in the 
evening, a good mother, a dream lover, and 
still remember the shopping. Supermodels 
showed us what we ought to be— super- 
women. You had to be fit to survive (and sex 
was competitive), but keeping fit took an- 
other precious 90 minutes out of the day. 

After the action came the reaction. If the 
waif had had a banner to wave, it might have 

read gimme a break! "That look was not a 
winner," says Blaine Trump. "Oddly 
enough, combat boots do not do it for me." 
She says she has not bought many clothes 
over the last few years, and her most suc- 
cessful dress remains a ten-year-old Calvin 
Klein she bought in two lengths, very short 
and full length: "The simplest dress I ever 
had, a black lace classic, off the shoulders 
with long sleeves, and fitted. It's so light you 
don't know you have it on." The little black 
dress did not acquire its reputation for sex 
appeal for nothing. My own favorite is a 
short black Donna Karan shift, and even 
nineteen-year-old Laura Patten has discov- 
ered black magic. 

Now fashion is advocating "strong and 
sexy." The choices have multiplied on the 
street, keeping pace with the expansion of 
the communications network. Leather 
corsets and wet-look synthetics— and a new 
kind of silk that looks like PVC— are the fo- 
cus now, ideas picked up from MTV, porn, 
and comics culture. Just barely laundered 
through the fashion industry, they are be- 
ginning to be worn with the lipstick, high 
heels, and glossy hair of the new, in-control 
adult looks of top models Nadja Auermann 
and Niki Taylor. "We know so many varia- 
tions on 'sexy' today," cult designer Helmut 
Lang told me from his workroom in Vien- 
na. "The intention is not just to follow the 
body tightly. I work with three dimensions- 
color, form, and texture. If I didn't use lam- 
inates today, I would be like a writer who in- 
sists on using a pencil instead of a comput- 
er. Why not use everything that's available 
to you? It's all part of the choice." 

More young designers and photographers 
are stepping into Helmut Newton territory 
as they celebrate women's new stylized and 
self-assured libido. You don't have to be a 
man-eater to be on the Newton wavelength, 
but he is right about sex and fashion: Sexu- 
al confidence is at the heart of the matter. 
When women aren't allowed to feel good 
about looking good, fashion short-circuits, 
the gas runs out, the engine dies, and the 
stores empty out. 

"We've got to that point of sexual ambi- 
guity again," says Valerie Steele, a professor 
at the Fashion Institute of Technology, who 
is planning a book on fetishism. "In the twen- 
ties and sixties we were questioning gender— 
what is the role of a woman? Now the ques- 
tion is: What's the norm? What's deviant? 
Women want to look powerful nearly as 
much as sexy. And rubber, synthetics, and 
the rest are the borrowed symbols of radical 
sex. People are plucking them out of the cul- 
ture without reading, or caring about, their 
actual meaning." 

Something must be happening, because 
I have started spending money on clothes 
again. First I went to the hairdresser on my 
way back from the gym last week and had 



(( 'ontinuedfrom page 189) 
my hair chopped off, so it's round and short 
and ragged with a long fringe. Then I went 
shopping and came back with four bags of 
clothes. What did I buy'.' Platform mules that 
extend my legs by four inches, a navy jersey 
sundress with a slit way up, a tiny flared skirt 
with built-in shorts so it doesn't matter if it 
blows around, and a bikini for the boat. 
When I tried them on for my husband, he 
gave me a check for the lot. He said he knew 
I had bought them all for him.* 


'Continued from page 139) 
or puts it to Mozart in Amadeus, "too many 
notes." Givenchy, whose clothes enabled 
Edith Head to win the Oscar for Sabrina, 
went on to name his new Italian fabrics af- 
ter the film. Hepburn said of her Sabrina 
wardrobe, "My dearest wish . . . was that Bil- 
ly [Wilder] would allow me to keep them. I 
could not have afforded a whole Givenchy 
wardrobe at the time, although I did own a 
coat I had bought with the fee from Roman 
Holiday. " Givenchy was such an indivisible 
part of Audrey Hepburn that twelve years 
after Sabrina. when she was making How to 
Steal a Million with Peter OToole, the fol- 
lowing lines (quoted here from memory since 
it doesn't seem to exist on video) were added 
to the script as an inside joke: 

H: Why do I have to dress like a washer- 

O'T: Well, for one thing it will give 
Givenchy the night off. 

I seem to have ignored the entire first half 
of the century. 

I've always been a sucker for Dior's New 
Look of 1947, with its belted suits, shirtwaist 
collars, pleats, and longer skirts. What a re- 
lief it must have been to women who'd been 
through those long, improvising years of the 
war. Finally there was some decent materi- 
al available, and the time to be creative with 
it. Frivolity is not esteemed when soldiers 
are being killed on beaches. 

The New Look coincided with the be- 
ginning of the cold war. Though there's no 
direct connection between wearing fan pleats 
and containing communism, politics and 
fashion did play off each other during the 
following 42 years, until the Berlin Wall was 
sledgehammered down. Remember the pa- 
jama suits that briefly became the rage after 
Nixon opened China in 1 972? A definite im- 
provement over the short-lived Nehru jack- 
et (see under "Non-Aligned Look"). After 
a thoroughly depressing decade of Vietnam 
and Watergate and Iranian hostage taking. 
America elected a good old-fashioned, un- 
apologetic cold warrior to the presidency, 
which made everyone feel confident, or at 
least better, and after Nancy wore Adolfo to 
the inaugural, signaling a definite end to the 

Rosalynn Carter era, it wasn't long before 
ladies were dressing to the nines in puffy 
taffeta evening dresses and coming to the of- 
fice in very sharp "power" suits. The Chanel 
suit came back, too, making people wonder 
why it had ever gone away in the first place; 
and the Pretty Young Things filled the tables 
at Mortimer's, mostly in black velvet minis, 
as the masters of the universe snapped their 
suspenders and tightened the knots of their 
yellow ties. The masters of the universe were 
ridiculous, I grant you, especially now that 
we know the secret of their success, but the 
ladies of the eighties, when we finally beat 
the Evil Empire, were a pleasure to behold. 
I'll take them over the grunge-clad, nose-bolt- 
ed ladies that followed any day. Maybe I'm 
just terminally Republican, but I've never 
understood the point of paying a lot of mon- 
ey for clothes with holes in them or why 
beautiful women would want to clump 
around in combat boots looking like heroin 
addicts who haven't washed their hair in two 
weeks. I'm so glad that's over. But we're get- 
ting out of order here. Point is, the last 
decade of the cold war looked pretty good 
to me. 

Back to the forties: Aside from Dior, the 
decade seems to recede in a sepia haze of An- 
drews Sisters hair, gabardine, and painted- 
on stocking seams. 

The thirties: the Age of Slink. All those 
languid starlets, languishing liquidly in the 
back of their limousines. Alluring, in a vamp- 
ish sort of way, but I always wondered if they 
had any energy left for the really fun stuff af- 
ter so many cigarettes and martinis. 

The twenties: more energetic. Whole lot 
of whoopee going on back then, flappers 
flapping, drunk on bathtub gin. ladies hold- 
ing on to their brimless cloche hats as they 
indulged in the new sport of motoring. 

No need to dwell on the suffragette teens. 
The hemline had crawled a little higher, to 
permit greater freedom of movement, since 
women had to leave the house in order to 
contribute to the war effort and to march up 
and down streets carrying we want i hi 
vote! signs. The higher hemlines must have 
come as a relief to a generation of men re- 
duced to fantasizing about what their wives' 
ankles looked like. 

Which brings us to the aughts. or what- 
ever those double-zero years are called, the 
Edwardian era of high collars, massive, 
corseted monobosoms, and below-the-ankle 
skirts. Yet there was something ineffably ma- 
jestic to those haughty ladies of the boule- 
vards with their S-curved silhouettes and tiny 
waists that still give rumor to stories of rib- 
removing operations. 

I love, too. the shirts and neckties they 
w ( re. As I finish this, on a plane as we begin 
our "final descent" (why do they put it so 
alarmingly?), the flight attendants are walk- 
ing up and down, wearing very smart single- 

breasted jackets, shirts, and ties. I can't 
my finger on it— or maybe I don't want| 
but there is something irresistible aboul 
look. Marlene Dietrich, Julie Andrews| 
ane Keaton, Maggie Smith, and Helena 
ham Carter in A Room with a View. A 
friend of mine has just fallen in love vt\ 
woman who dresses in menswear to kill* 
feet. I'm very happy for him. 

One night recently in Los Angeli 
friend took me to a new place called Hd 
of Blues, where in order to get to the bal 
the third floor you have to talk your I 
through more roped-off checkpoints « 
Studio 54 at its most pretentious ever wk 
up, these manned by muscle-boy bounft 
wearing telephone-operator headsetsM" 
heaven's sake. Eventually we achieved* 
sanctum sanctorum, only to encounter n 
luminosities as Andrew Dice Clay and ■ 
Belushi. But it was not to them that my m 
were drawn, for everywhere you turm 
were beauties— and I do mean beauties; I 
it's L.A.— turned out in the latest Ter et m 
tine and Isaac Mizrahi jackets, withB 
croshort skirts. It took a great deal of A 
centrated effort to pretend to be morA 
terested in Mr. Clay's bons mots than ink 
three-alarm pin-striped pulchritude sitjh 
on the next couch over. Took imaginatM 
too. to see the Edwardian palimpsestB 
hind that cardiac-arresting modern m 
sion. But it was clear enough: The cei» 
ry had come full circle, and I was a \m 
way from Philadelphia. • 


(Continued from page 143) 
would really be better for the movie if trl 
were a woman in it so that we could p>,a 
woman on the poster." Hurd stood I 
ground, remaining true to the story (bal 
on the sci-fi novel The Penal Colony M 
Richard Herley). and was. in some ways, I 
titled. "The interesting thing is that in all p 
research screenings we had, not one wonji 
complained that there were no women in 
she says. But "fourteen-year-old boys w r( 
in very big letters. "Where are the babes 
(When I laugh at this observation, she rejc 
with an all-damning " Your gender") J 
also notes that it was "one of the few wo 
in the market questionnaire they didn't r 
spell: babes." 

As the producer of two films that ele\ 
ed women from babes into action-hero J 
tus (Sigourney Weaver in Aliens and Lii 
Hamilton in T2), Hurd knows whereof : 
speaks when she says. "I think it's compl 
gratuitous and exploitative to put a won 
in a film simply to appeal to that segmen 
the audience." And certainly the core at 
ence of most action-adventure films is fil 
w ith fourteen-year-olds who have no pr< 
lem w ith Sigourney/Linda greasing any ni 
ber of aliens/androids. 


VOGUt II 1 V 1' 

on patients using a laser for one eye and a 
scalpel for the other, Milgraum found that 
the laser technique resulted in far less ten- 
derness, aching, and swelling. 

Not all doctors are sold on lasers, how- 
ever. Helen Colen, for instance, believes 
the only thing lasers add to cosmetic 
surgery is cost. "A laser is simply another 
kind of scalpel. There's nothing magic 
about it. And so far I haven't been con- 
vinced that laser surgery in face- and eye- 
lifts is any better than conventional 
surgery." Colen worries that patients who 
equate lasers with state-of-the-art surgery 
may make the wrong choice of practi- 
tioner. "It's far better to go with a doctor 
who has had years of experience per- 
forming conventional surgery than with a 
doctor who's just touting laser surgery," 
she points out. 

Whether performed with scalpel or 

\ laser, eyelid lifts can still be problematic. 

Among the most common complaints: If 

1 the cosmetic surgeon removes too much 

skin from the upper lid, patients may have 

trouble fully closing their eyes-a problem 

I that usually goes away over time as the 

skin stretches. 

The new peels 

Deep chemical peels have long been a 
popular alternative to surgical face-lifts 
for some, but they're not for the squea- 
mish. "The point of a skin peel is to re- 
move the upper layer of damaged skin in 
order to promote the growth of healthier, 
younger-looking skin," explains Robert 
Kotler, a Beverly Hills facial plastic sur- 
geon and one of the leading proponents 
of chemical peels. Deep peels use potent 
acids such as phenol to burn off the upper 
layers of the skin. The aftermath resem- 
bles a severe sunburn. For the first week 
after treatment, the skin is raw and may 
be painful. Treated skin can remain red 
for another few weeks. In many cases the 
new skin is ultimately lighter in color than 
surrounding skin, so patients often must 
use cosmetics to achieve an even tone. The 
best results are usually seen on people with 
light-toned skin— peels aren't recom- 
mended for dark skin. Unfortunately, even 
the most experienced cosmetic surgeons 
can't always predict pigment changes. 

Recently an array of lighter chemical 
peels have been developed, using alpha- 
hydroxy, or fruit, acids. The lighter the 
peel, the less damage to the skin and the 
shorter the recovery time. Especially in 
younger patients with mild sun damage, 
irregular pigmentation, or very superficial 
wrinkles, lighter peels offer more option? 
Unfortunately, the lighter the peel, the le- s 
effective it is. So some dermatologists 
ply a light chemical peel every few we s 
until the desired effect is achieved. Son ; 

of the lightest peeling agents are even avail- 
able over-the-counter and can be applied 
at home. For people with fine lines and mi- 
nor sun damage, the results can be quite 
dramatic, says John Owsley, clinical pro- 
fessor of plastic surgery at the University 
of California, San Francisco. "For years 
patients have asked me what skin-care 
products I recommend, and I haven't been 
able to offer much. But with fruit-acid lo- 
tions and peels, we've really seen remark- 
able improvements." 

For more severe sun damage, however, 
deeper peels may still be the only way to 
erase lines and brown spots. The latest ap- 
proach, using an ultrapulse laser, offers 
an option that does away with chemicals 
entirely. Ultrapulse lasers produce brief 
flashes of high-energy light that vaporize 
the uppermost layer of the skin, revealing 
the dermis beneath, according to derma- 
tologist Milgraum, who pioneered the use 
of the new technique. The ultrapulse laser 
is easier to control than chemicals, Mil- 
graum says, so there's far less danger of 
scarring. The entire face can be treated in 
about an hour, compared with the two 
hours or more recommended for phenol 
chemical treatment. And because the laser 
can target small areas, it can be used for 
crow's-feet or the fine wrinkles around the 
mouth. Best of all, new skin begins to grow 
in within a week, compared with the two 
weeks or more it takes after a deep chem- 
ical peel. 

Even so, laser peels aren't perfect. The 
day after Andrea Rothman*, 44, went in 
for ultrapulse laser treatment to erase lines 
above her upper lip, the skin began to 
swell. "For a day I looked like Daffy 
Duck," she remembers. At first she was 
bothered by the mild burning. And a 
month after the treatment, her skin was 
still pink. In some patients, redness can 
last up to six months. For all that, howev- 
er, Rothman says she's delighted with the 
results. "I hated those lines," she says, 
"and now they're gone." 

Laser treatments haven't done away 
with the pigment problem, either, mean- 
ing that patients may need camouflage 
makeup to even out skin tone. And there's 
always some risk, however small, of per- 
manent scarring. 

For all their promise, ultrapulse laser 
peels are not yet widely tested— another 
reason to consider the option with caution. 
Even the American Society for Aesthetic 
Plastic Surgery has voiced concern that 
some doctors are experimenting with 
chemical or laser peels without adequate 

Cautionary tales 

As new techniques make it easier to erase 
a few unwanted lines here and tighten up 


a saggy bag there, doctors say patients are 
coming in for cosmetic surgery at a 
younger age. Less invasive options may 
even be reshaping attitudes toward cos- 
metic surgery. "There was a time when 
people came into the office and said, T 
want to look 20 years younger,' " says 
Abergel. "Today they want to look re- 
freshed, rejuvenated." 

Despite the enthusiasm of patients and 
doctors, however, there's reason to be cau- 
tious. Many of these techniques are so new 
that they haven't been widely studied or 
officially endorsed by medical boards. All 
it takes for a doctor in private practice to 
become a laser surgeon, after all, is the 
money to buy the device. Even the best-in- 
tentioned doctors can make serious mis- 
takes. Last year a New York physician be- 
gan promoting the use of fat injections for 
breast enlargement, for example. Only lat- 
er did researchers discover that the large 
amounts of injected fat were calcifying and 
forming lumps that looked like tumors in 
a mammogram. 

Separating the hype from the genuine 
advances in cosmetic surgery isn't easy. 
"The first step is to get a good diagnosis 
and recommendations from a physician 
you can trust," says the University of Cal- 
ifornia's Owsley. "Too many patients 
come in saying, T want this or that tech- 
nique.' Not every technique is right for 
every patient." 

The best advice for anyone consider- 
ing a cosmetic procedure, says Robert 
Kotler, is to ask lots of questions. How 
long has the doctor been performing the 
procedure? How many are performed in 
an average week? What are the possible 
complications and side effects? Are "be- 
fore and after" photographs available? 
Can you speak to other patients who 
have had the surgery performed? Ask 
whether your doctor is affiliated with a 
hospital (a measure of the doctor's pro- 
fessional standing as well as insurance in 
an emergency). It may also be wise to ask 
whether the procedure you are consid- 
ering has been widely endorsed by other 

But long before getting that far, there's 
a more fundamental question to consider: 
How much are we willing to sacrifice in 
the pursuit of more youthful looks? Cos- 
metic surgery has costs that can't be cal- 
culated in dollars and recovery times. Se- 
duced by the promise of a temporarily 
flawless complexion, we may forget more 
enduring images of beauty— the fierce pow- 
er captured in the lined features of a Pa- 
tricia Schroeder, the wisdom that burns in 
the heavy-lidded gaze of a Lillian Hellman 
or a Georgia O'Keeffe. A little tuck here 
and a little nip there buy only the illusion 
of time, after all.* 


n this i 

Page 4 (cover look): Silk dress. $1,375. Silk down- 
filled jacket. $ 1 . 1 65. Bergdorf Goodman; Saks 
Fifth Avenue. Dress also at Gidding - Jenny, 
( Cincinnati. Fashion front 42: Bottom, left to right: 
cotton and Lycra T-shirt, $80. Macy's. Silk 
charmeuse from B & J Fabrics, NYC. Silk slip 
dress. $88. Neiman Marcus; Holt Renfrew of 
Canada. Polyester and Lycra string bikini in a 
pouch. $49. For store information, call (800) 920- 
2999. Silk and satin miniskirt. S69. Wearable En- 
ergy. NYC. Water-bottle holder. S 1 .225. Chanel 
boutiques. NYC. Beverly Hills. Photo credits: top 
right: Mary Hilliard: watch, boot, clothing: Eric 
Huang; bottom right: courtesy of Lacoste: view- 
cam: Roxanne Lowit. courtesy of Sharp Elec- 
tronics Corporation; top left: Albert Watson: cen- 
ter Masha Calloway. Vogue's view 45: Gockwise 
from top left: wool, cashmere, and Lurex sweater. 
$520. Wool and cashmere skirt. S460. Ultimo. 
Chicago; The Gazebo. Dallas. Sweater also at 


Bloomingdale's. Cashmere sweater, $395. Wool 
and cashmere skirt, $460. Neiman Marcus; I. 
Magnin. San Francisco. Wool stretch jacket, 
S 1 , 1 00. and skirt, $450. Donna Karan New York. 
Bergdorf Goodman: Saks Fifth Avenue. NYC. 
Chevy Chase MD. Beverly Hills. Wool and cash- 
mere jacket. $750. Saks Fifth Avenue; Toby Lern- 
er. Philadelphia. Cashmere jacket, S690. Saks 
Fifth Avenue; Adele Kauff. Great Neck NY: the 
Calvin Klein Store. Dallas. Cashmere sweater, 
$740. B. Barnett. Little Rock; the Calvin Klein 
Store, Dallas; Ruth Kishline. Naples FL. Wool 
skirt. S430. Bergdorf Goodman; Adele Kauff. 
Great Neck NY; Ruth Kishline. Naples FL. 
Matte jersey dress. $ 1 .020. Shearling coat. S2. 1 00. 
Marc Jacobs for Birger Chnstensen. Coat and 
dress at Ultimo. Chicago: I Magnin. Dress also 
at Bloomingdale's. Coat also at Neiman Marcus. 
Wool crepe dress. $750. Saks Fifth Avenue; 
Neiman Marcus; Nordstrom. Seattle and Belle- 

vue WA. Wool sweater, S3 1 5, and wool si 
S380. Shearling jacket, S2,075. Ultimo, Chic| 
Sweater also at Saks Fifth Avenue, NYC: \ 
& Me, Memphis. Skirt and jacket also at 1 
ton's, Minneapolis; Marshall Fields. Coj 
ribbed T-shirt. S47. Cashmere cardigan, $J 
Cotton skirt. $ 1 55. Bloomingdale's. 48: Silkl 
ganza. and satin gown. Vera Wang Bridal \ 
lection. Vera Wang Bridal House, NYC: 1 
shall Field's; I. Magnin, Beverly Hills. 50: Sill 
ganza gown. Hubert de Givenchy from the HI 
Couture Collection. Dements 62: Gockwise f| 
top left: satin and goose-feather bag. S'M 
Takashimaya. NYC; the Twenty-Four CoB 
tion. Bal Harbour FL. Goose-feather bags in ■ 
yellow, and orange, $225 each. Galeries Lafayfl 
NYC: the Twenty-Four Collection. Bal Harri 
FL. Red bag also at Takashimaya. NYC. Sil 
bag. S335. The Twenty-Four Collection. Bal II 
bour FL. Suede bag. S330. The Twenty-Four I 
lection. Bal Harbour FL. Fake-fur bag. $455. I 
leries Lafayette, NYC; the Twenty-Four Col 
tion. Bal Harbour FL. Leather bag. S280. 1 
Twenty-Four Collection. Bal Harbour FL. Wl 
sequined bag. $330. Galeries Lafayette, Nm 
the Twenty-Four Collection. Bal Harbour I 
Goose-feather shopping cart. $695. Blue Brfa 
SoHo NYC; the Twenty-Four Collection,! 
Harbour FL. Sequined shopping cart, S810. j 
leries Lafayette, NYC: the Twenty-Four Col 
tion, Bal Harbour FL. Satin and goose-fea« 
gloves, S215. Takashimaya. NYC; theTwe| 
Four Collection. Bal Harbour FL. Vogue arts 1 
Top row. left to right: rayon beaded dress. SSI 
Donna Karan New York. Nordstrom. San F j 
cisco. Suit. Agnes B. Homme. Scarf. Sulka T 
do, Paul Smith. Middle row. left to right: tux 
Giorgio Armani Le Collezioni. Shirt, Paul Sn j 
Tuxedo and shirt. Paul Smith. Ascot. Sulka. M 
on beaded bodysuit. S495. Donna Karan > 
York. Mimi, New Orleans; Neiman Marcus. 
Francisco; Liberty House of Hawaii. Silk sti 
$ 1 .800. Donna Karan New York. Bcrgd, 
Goodman; Saks Fifth Avenue. NYC. Beu 
Hills: Neiman Marcus. Bottom row. far left 
Ion dress. S385. DKNY. Macy's Herald Squ. 
Neiman Marcus. Necklace, Erickson Bean 
for Anna Sui. Far right: wool dress. $770. Gi 
ma Kahng. Macy's Herald Square, Aventura 1 
Saks Fifth Avenue. NYC; Razook's. Greenw 
CT. Vogue beauty 100: Linen jacket. S230, i 
trousers. $160. Mark Eisen. Henri Bendel; Mat 
Herald Square. Aventura FL. 105: Chanel she 
S425. Chanel boutiques. 

Fashion on the move 

110: Left: latex and polyester dress. $930. Mac 
Herald Square; Laura Urbinati. Los Angel 
Right: outfit. Karl Lagerfeld for Chanel. Hai 
bag. Chanel. Ill: Left: outfit. Jean Paul Gaulti 
Center: leather coat. S2.100. Nylon shirt. $5' 
Wool and cashmere cardigan. $425. Silk ski 
S680. Coat, Marc Jacobs for Birger Christens 
Shirt, cardigan, and skirt. Marc Jacob- \ 
Bergdorf Goodman; I. Magnin. Shirt andsk 
also at Neiman Marcus, Troy MI. Right: silk ta 
top. $995. Wool skirt, S265. Isaac Mizrahi. Su 
ley Korshak. Dallas. Skirt also at Yati. Sol 


YC: Bill Loya. Salt Lake City. 1 12: Left to right: 

Ion jacket. S344. Anna Sui. Henri Bendel; 

Herald Square: Bullocks/Macy's West. 

•\erl\ Hills. San Francisco. Hat. Anna Sui. Out- 
Jean Paul Gaultier. Outfits. Karl Lagerfeld 

r Chanel. Accessories. Chanel. 1 13: All outfits. 

arl Lagerfeld for Chanel. All accessories. 

hanel. 1 14: Left: mohair and wool jacket. 
. 1 35. Silk and elastic bodysuit. S490. Wool. 

ntron. and Lycra skirt. S255. Ralph Lauren 

flection. Jacket at Marshall Field's: Dayton's. 

inneapolis. Bodysuit and skirt at Polo/Ralph 

luren. Beverly Hills. Center: outfit. Giorgio 

rmani. Right: wool and rayon jacket S935. and 
nts. S535. Silk satin blouse. S435. Anne Klein 
Richard Tyler. Bergdorf Goodman; Saks Fifth 

.enue: the Anne Klein Store. Manhasset NY. 

louse also at Nordstrom. Los Angeles. 115: 

;ft: outfit. Prada. Right: wool jacket. S2.350. 

Ik charmeuse shirt. S 1 .350. Richard Tyler. 

i-rgdorf Goodman; Ultimo. Chicago: Neiman 

larcus. 116: Left: wool and cashmere coat. 
.200. Silk dress. S830. Calvin Klein. Coat at 
Fifth Avenue. Dress at Bergdorf Goodman. 

ioes. Calvin Klein. Right: angora, wool, and 
shmere coat. S2.900. Bill Blass. Bergdorf 
Iman: Saks Fifth Avenue. NYC. Shoes. Bill 
1 1 17: Left: leather jacket. 1,865. Wool dress, 
15. Wool and Lycra turtleneck. S295. Isaac 
izrahi. Jacket at Ultimo. Chicago: Dayton's, 
inneapolis. Dress and turtleneck at Saks Fifth 
enue. NYC: Jamie. Nashville: Mimi & Me, 
emphis. Right: shearling coat. S3. 500. Cash- 
:re cardigan. S995. Chenille skirt. S450. Don- 
Karan New York. Saks Fifth Avenue, NYC. 
rdigan and skirt also at Bergdorf Goodman. 
0: Left: coat. Gianni Versace. Right: latex 
S605. Barneys New York: Ron Her- 
m Fred Segal Melrose, Los Angeles. Shoes, 
n Bruce. 121: Left: silk dress. S745. Marc Ja- 
ns. Bloomingdale*s; Ultimo, Chicago; Neiman 
arcus. Troy MI. Beverly Hills; I. Magnin. 
oves. Marc Jacobs. Center: outfit. Helmut 
ng. Right: outfit and necklace. Valentino. 122: 
tilts. John Galliano. 123: Far left: wool dress. 
.000. Bergdorf Goodman: Saks Fifth Avenue; 
irdstrom. Seattle. Shoes. Calvin Klein. Far 
ht: lace and tulle dress. Vivienne Westwood. 
SoHo N YC; Culture Shock. Boston; June 
aker. Chicago: Gallay/Sunset, West Holly- 
»od. Shoes, Vivienne Westwood. 

ntastic plastic . . . 
id other wild ideas 

5: Nylon and Lycra unitard. Choker. Marie 
rra. Saks Fifth Avenue; Neiman Marcus, 
ng, Armen Ra for Todd Oldham. For more 
'ormation, call (212) 592-3398. Boots, Karl 

Lagerfeld. Charles Jordan stores: Saks Fifth Av- 
enue. NYC; Neiman Marcus; Fred Hayman. 
Beverly Hills. 126: Wool kimono. S2.905. Also 
at Saks Fifth Avenue, Chevy Chase MD: I. 
Magnin. Hat. John Galliano. Necklace. M + J 
Savitt, NYC. Stockings. Donna Karan Hosiery. 
Shoes. Manolo Blahnik. NYC. 127: Karl Lager- 
feld for Chanel: cashmere and fake-fur dress. 
S3.1 30. Fake-fur jacket. S2.835. Hat and gloves, 
Chanel. Chanel Boutique. NYC. Beverly Hills. 
Stockings, DKNY Coverings. Boots. Chanel. 
Chanel Boutique, NYC. Beverly Hills. 128: Poly- 
ester and lame sweater. Rayon and cotton skirt. 
Stockings, Donna Karan Hosiery. Boots. Marc 
Jacobs. For more information, call (212) 343- 
0222. 129: Silk and rubber-blend dress also at 
Gianni Versace Boutique. Bal Harbour FL. 
Chicago. Bracelet. Marie Ferra. Saks Fifth Av- 
enue; Neiman Marcus. Belt. Gianni Versace. 
Stockings. Donna Karan Hosiery. Shoes, Stilet- 
to. NYC. 

Platinum hit 

130-131: Cashmere and Lycra turtleneck. 133: 
Latex dress. 

Beauty & the beat 

149: Left: sweater. Karl Lagerfeld for Chanel. 
Skirt. Istante by Gianni Versace. Right: dress, 
Todd Oldham. 150: Sweater, Karl Lagerfeld for 
Chanel. Skirt. Istante by Gianni Versace. Boots. 
Michel Perry. 

Self determination 

157: Dress. Scaasi Bride for Eva Forsyth. 

Colorful character 

166: Wool and cashmere sweater. Rayon and 
cotton skirt. Sweater and skirt also at Neiman 
Marcus. Beverly Hills. Hat. Marc Jacobs for Pa- 
tricia Underwood. 167: Wool jacket and pants. 
Jacket, halter, and pants also at Ultimo. Chica- 
go. Halter also at Bloomingdale's. 168: Nylon 
shirt. Rayon jersey pants. Jacket, shirt, and pants 
also at The Gazebo. Dallas. 169: Rayon stretch 
georgette dress. Hat. Kangol. Roxanne Assoulin 
for Marc Jacobs. In this story: all shoes, Marc 
Jacobs. For information, call (212) 343-0222. 

Shining through 

171: Diamond numbers. S2.175-S2.425. 172: 
Diamond stars, S 1 ,750-S5,625. Diamond half- 
moon. S9.450. 

Short & sweet 

174: Mohair and polyester turtleneck. Mohair 
and wool skirt. 175: Sweater and skirt also at 
Neiman Marcus, Beverly Hills. 176: Rayon, 

wool, and silk skirt. 177: Cotton, acetate, and 
acrylic skirt also at Saks Jandel, Washington 
DC. Chevy Chase MD. Shoes, Chanel. Chanel 
Boutique, NYC. Palm Beach. 

Vogue style 179-180: For information on flo- 
ral designers mentioned on these pages, con- 
tact the following: in Paris: Comme a la Cam- 
pagne (331/402-909-90); 29 rue du Roi de 
Sicile. Marianne Robic (331/441-803-47); 41 
rue de Bourgogne. Christian Tortu (33 1 /432- 
602-56): 6 carrefour de FOdeon. London: 
Paula Pryke Flowers (44/7183-773-36); 20 
Penton Street. New York: Robert Isabell 
(21 2/645-7767): 4 1 West 1 3th Street. Miho 
Kosuda Ltd. (212/922-9122); 310 East 44th 
Street. VSF (21 2/206-7236); 204 West 1 0th 
Street. Gerd Verschoor (212/226-1 214): 470 
Broome Street. #4S. L. Becker Flowers 
(212/439-6001); 217 East 83rd Street. Op- 
pizzi & Company (2 1 2/633-2248); 8 1 8 Green- 
wich Street. California: Michael Venedicto 
(818/791-3163): P.O. Box 94070. Pasadena, 
91 109-4070. Vogue's last look 196: Speedo, 
S25. Paragon Sporting Goods. NYC. Ar- 
mani. S295. HL Purdy Opticians, NYC; 
Kimbe Optic; Da Vinci, Los Angeles. Ray- 
Ban. SI 60. For store information, call (800) 
343-5594. Koure. S280. HL Purdy Optical. 
NYC: Raymond Opticians. Mt. Kisco NY; 
Davante, Los Angeles; Optical Shop of As- 
pen, Los Angeles. Oliver Peoples. S330. Mor- 
genthal-Frederics. NYC; 20/20 Optical, 
NYC; Oliver Peoples Opticians. Los Ange- 
les. Calvin Klein. SI 95. Bergdorf Goodman: 
Saks Fifth Avenue. Okio. S295. Myoptics. 
NYC; Robert Marc Opticians. NYC: Opti- 
cal Outlook. Los Angeles. Kata, S350. Mor- 
genthal-Frederics. NYC; Selima Optique. 
SoHo NYC: Optical Shop of Aspen. Los An- 
geles. Oakley. S90. For store information, call 
^800)733-6255. Polo. S85. Macy's Herald 
Square. Paramus NJ; Polo Sport Store, NYC. 
Paul Smith. S230. Morgenthal-Frederics. 
NYC; 20/20 Optical, NYC; Oliver Peoples 
Opticians. Los Angeles. Christian Roth, S200. 
The Eye Shop. NYC; Optics By Victor. Bev- 
erly Hills. 



Page 42. Hot pants: 

Vogue Pattern 
#891 5. View A. 
Sizes 8-18. Size 10: 
114 yards of 60" fab- 
ric. USA SI 1.95. 

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JULY 1994 


last look 

Editor: Candy Pratts Price 

Calvin Klein Eyewea 

Polo Ralph Lauren Eyewear 

Paul Smith by Oliver Peoples 

Christian Roth for Optical Aft. 

Sunglasses take a shine to fashion's favored silver metallics and get an update 

with softly tinted lenses of every shade 

From Speedo's high-tech swim goggles to Polo's mirrored aviators 
to Armani's classic clip-on shades, fashion's silver streak has clear- 
ly taken hold in eyewear, too. And many lines are taking the met- 
al urge to new heights of luxury: Ray-Ban debuted its first sterling-silver 
frames this year, and Polo Ralph Lauren Eyewear, Giorgio Armani Oc- 
chiali, and Kata are using even, thing from pewter to platinum. 

As for the current crop of shapes. "' 1 940s-inspired oval lenses and the 
more modified, conservatively shaped aviator arc having their day in the 
sun." according to Richard Morgenthal. owner of Morgenthal-Freder- 
ics Opticians in Manhattan. Oliver Peoples has even re-created a vintage 
design with adjustable, jointed temple pieces that allow the glasses to sit 
lower or higher on the nose. Others are taking the oval-lens look in a more 

futuristic direction, such as Blake Kuwahara, chief designer for K| 
whose shades have been spotted on the likes of Geena Davis and Roll 
Redford. An additional plus to investing in these kinds of premium-q| 
ity frames is that the} can easily be fitted with prescription lenses. 

Though every shade of lens can offer high-level UV protectior 
day, last year's flower-power bright colors have mellowed. "Soi 
colors look better on everyone." says Oliver Peoples co-owner i 
co-designer Larry Leight. "People want something soft and utl 
suming that can be worn ever) day." ( liorgio Armani echoes t! I 
Liment with a predictable preference for the low-ke\ look: "E\ ev e 
sa\ s the designer, "is an accessory that clothes the face but should 
become an object of decoration." • 









3 9042 03746089 3 

I 19 


"alvin Kk 

Master of the 

Jacqueline Kennedy: 
The Vogue Files 












te4 I J 


last look 

Editor: Candy Pratts Price 


Ray-Ban by Bausch & I 


Oliver Peoples 

Calvin Klein Eyewear 

Okio Int. 

Kata Eyewear 


Polo Ralph Lauren Eyewear 

Paul Smith by Oliver Peoples 

Christian Roth for Optical Affat 

Sunglasses take a shine to fashion's favored silver metallics and get an update 

with softly tinted lenses of every shade 

From Specdo's high-tech swim goggles to Polo's mirrored aviators 
to Armani's classic clip-on shades, fashion's silver streak has clear- 
ly taken hold in eyewear, too. And many lines are taking the met- 
al urge to new heights of luxury: Ray-Ban debuted its first sterling-silver 
frames this year, and Polo Ralph Lauren Eyewear. Giorgio Armani Oc- 
chiali, and Kata are using everything from pewter to platinum. 

As for the current crop of shapes. " 1 940s-inspired oval lenses and the 
more modified, conservatively shaped aviator are ha\ ing their day in the 
sun." according to Richard Morgenthal. owner of Morgenthal-Freder- 
ics Opticians in Manhattan. Oliver Peoples has even re-created a vintage 
design with adjustable, jointed temple pieces that allow the glasses to sit 
lower or higher on the nose. Others are taking the oval-lens look in a more 

futuristic direction, such as Blake Kuwahara, chief designer for Ka 
whose shades have been spotted on the likes of Geena Davis and Rob 
Redford. An additional plus to in\ csting in these kinds of premium-qu 
ity frames is that they can easily be fitted w ith prescription lenses. 

Though every shade of lens can offer high-level UV protection 
day, last sear's flower-power bright colors have mellowed. "Soft 
colors look better on everyone," sa\ s Oliver Peoples co-ow ner ai 
co-designer Larry Leight. "People want something soft and uni 
suming that can be worn even da\ ." ( iiorgio Armani echoes that se 
timent with a predictable preference for the low-key look: "Eyew sai 
saj s the designer, "is an accessory that clothes the face but should n 
become an object of decoration." • 



HK9BI > 




last look 

Editor: Candy Pratts Price 


r ^i 

Speedo America 

Giorgio Armani Occhiali 

Ray-Ban by Bausch & Loml 


Oliver Peoples 

Calvin Klein Eyewear 

Okio Int. 

Kata Eyewear 



Polo Ralph Lauren Eyewear 

Paul Smith by Oliver Peoples 

Christian Roth for Optical Affail 

Sunglasses take a shine to fashion's favored silver metallics and get an update 

with softly tinted lenses of every shade 

From Speedo's high-tech swim goggles to Polo's mirrored aviators 
to Armani's classic clip-on shades, fashion's silver streak has clear- 
ly taken hold in eyewear, too. And many lines are taking the met- 
al urge to new heights of luxury: Ray-Ban debuted its first sterling-sih er 
frames this year, and Polo Ralph Lauren Eyewear. Giorgio Armani Oc- 
chiali, and Kata are using everything from pewter to platinum. 

As for the current crop of shapes, " 1 940s-inspired oval lenses and the 
more modified, conservativelv shaped aviator are having their day in the 
sun." according to Richard Morgenthal. owner of Morgenthal-Freder- 
ics Opticians in Manhattan. Oliver Peoples lias even re-created a vintage 
design with adjustable, jointed temple pieces that allow the glasses to sit 
lower or higher on the nose. Others are taking the oval-lens look in a more 

futuristic direction, such as Blake Kuwahara, chief designer for Kal 
whose shades have been spotted on the likes of Geena Davis and Robtl 
Redford. An additional plus to investing in these kinds of premium-quj 
ity frames is that they can easilv be fitted with prescription lenses. 

Though every shade of lens can offer high-level UV protection 
da) . last year's flower-power bright colors have mellowed. "'Softf 
colors look better on everyone." saj s Oliver Peoples co-owner all 
co-designer Lam Leight. "People want something soft and inu 
Sliming that can be worn even day." ( liorgio Armani echoes th it \ 
timent with a predictable preference for the low-kev look: "Eyev eai I 
sav s the designer, "is an accessor) that clothes the face but should nl 
become an object of decoration." • 




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White heat Marc Jacobs's dazzling 
alpaca-and-wool overcoat. Page 210. 


98 Fashion front By William Norwich 

Vogue's View 

105 Media alert Three boldface names-Angela Janklow Harrington, 

Cristina Greeven, and Vanessa van Zuylen-start their own glossies in 
three very different cities. Giselle Benatar gets the scoop 

120 Double take Coco Chanel invented it in the 1 930s, and Grace 

Kelly made it her signature in the 1950s. Now the classic twinset's 
got a new twist— pumped up with color and chic enough to stand in 
for a jacket 

122 Bosom buddies As the Wonderbra and other push-up bras give the 
nineties silhouette a big boost, Sally Wadyka reviews the foundations 
of fashion's new contour 

1 30 Out, damned spot Fashion's recent white wave proved a boon for the 
dry-cleaning business. In search of a professional's secrets of clean, 
Mary Roach goes behind the scenes— and out to lunch -with the 
Sultan of Stains 

1 36 Elements Sheer glamour: Getting a leg up on fall's sexy look-the 
smoky stocking paired with a skyscraper-high stiletto heel 

209 Point of view 

210 Top coats From double-breasted mohair to belted tweed, the new 
overcoats are as diverse as they are versatile. The common 
denominator: the accompanying little shift dress to showcase this 
season's sheer leg and towering high heel. Photographed by 
Arthur Elgort 

220 The scoop on suits Designers are making fall headlines by giving a 
stylish edge to the staple of the working woman's wardrobe. The news: 
to-the-knee skirts cut into feminine A-lines and paired with curve- 
•onscious, fitted jackets to form suits chic enough for a modern-day 
Lcis Lane. Photographed by Ellen Von Unwerth 

228 Strictly speaking . . . Strip away last year's loose layers and unveil 
what's essential this season: streamlined jackets and skirts that 
enhance the bodies beneath them. To make the point, black says it 
adding a sexy edge to practical pieces that work by day and 
\ by night 

234 Calvin's dean sweep Clearly, this is Calvin Klein's moment. He I 
triumphed as the womenswear and menswear designer of the year. 
his company from financial jeopardy, sold his controversial underw ea 
for a fortune, and is about to launch yet another megafragrance But Jif 
Reed finds that, far from resting on his laurels, he's about to take lashi. 
a whole new direction. Klein portraits by Annie Leibovitz 

242 Calvin's flip side In his sexy secondary line. CK. Calvin Klein 
translates his signature timeless shapes into alluring, affordable 
pieces— like the slip dress, slim skirt, and mohair sweater for the 
young (or young at heart) 

276 Bright Ideas For those who are weary of humdrum hues, the fall ] 
forecast couldn't be more dazzling. Suddenly color and shine ha\ i j 
returned, appearing on everything from Lucite chokers to rhinest/ 
studded boots to handbags and heels of every possible shade 

280 Is there a future for fur? From every woman's dream to the si I 
controversy is made of. the fur coat has been both revered and re% | 
over the years. Now. with sales up. public opinion down, and desig 
somewhere in between, Suzy Menkes wonders if anyone can re\ i\ | 
fur's glamorous image 

284 Dress for less: gray matters To illustrate the season's more 
sophisticated mood, office wear is paring down, both in shape anj 
price. Colored in tones of smoky gra> . the basic elements man- 
tailored pantsuits. trim skirts, and body-hugging knits convej a 
feeling of classic, feminine refinement 

295 Talking fashion The short and the long of it 
Girls' best friend? 

Chanel belles 

306 In this Issue 

308 Vogue's last look Call in the tanks: The streamlined glamour niakm 
comeback in fashion has sparked a timely demand for this classic w ate 

COVER LOOK Clothes that work: Model Karen Mulder wears a short 
olive dress with a matching tweed jacket and silk anorak. Echoing 
Jacket's earth tones: Creme Lipstick in Desert Rose and Eye Blush 
Sable, both from Chanel. Dress, jacket, and anorak with fake-fur sc 
by Karl Lagerfeld for Chanel. Details, stores, see In This Issue. Hair. 
Orlando Pita for Bumble and Bumble; makeup, Francois Nars. Fash 
Editor: Carlyne Cerf De Dudzeele. Photographer: Steven Meisel. 

vogue w ' - 



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[80 Girth control pills? Dieters who have tried everything with little 

success are turning to a new generation of weight-control drugs. Laura 
Fraser learns what's available, what's on the way, and what you should 
be worried about 

[ 84 Fitness notes By Deborah Pike 


Vogue Beauty 

187 Going to new lengths Conservative staples get glamorous this fall as 
fashion's favored hemline hits at the knee and hair's latest length is the 
above-shoulder bob 

1 90 Beauty that works From the clean-scrubbed Gibson girl to today's 
strong and sexy executive, the working woman has changed her look 
nearly as much as her role. Vanessa Friedman tracks the evolution of 
the nine-to-five face 

[ 98 Beauty bets Making up: Reflecting a return to makeup and all its 

decorative effects, stylish, meant-to-be-seen compacts are coming out 
of hiding— and giving an age-old beauty ritual fresh allure 

102 Beauty answers Undercover work: Designed primarily to cover and 
conceal, foundations now offer treatment benefits for older skin. But is 
it all just more "hope in ajar"? 

204 Beauty clips By Amy Astley 

266 The making of a model Although winning the Publishers 

Clearinghouse Sweepstakes is a sure thing compared with becoming 
the next Linda, Christy, or Naomi, the allure of the supermodel's life 
persists for legions of girls pursuing dreams of glamour. Charles 
Gandee follows sixteen-year-old Bridget Hall, one of the latest 
contenders for the supermodel crown, along the road from fantasy to 
reality. Photographed by Arthur Elgort 

272 Lip service Red is far from dead— as nearly every designer and 

makeup artist demonstrates this season. But red lipstick offers a lot 
more than just a shock of color. It can even, Julia Reed finds, prove a 
test of character 

274 Red-hot nails In some decades the sexy scarlet fingertip burns bright, 

while in others it dies down to barely an ember. Amy Astley nails down the 
history of the crimson manicure and discovers why red looks right again 


44 Masthead 
48 Contributors 

64 Talking back Letters from readers 

76 Up front The sex wars, continued: Anita Hill put it on the agenda. 
Paula Jones made it a conservative cause. Working women have never 
had so much protection from sexual harassment. But are we really any 
better off? Elaine Shannon investigates 

89 People are talking about Scandalous souvenirs . 
Virgins . . . and more. By Candace Bushnell 

. Codependency . . . 

Vogue Arts 

1 39 Movies Wine, song, and right-wing humor: Three new films serve up a 
feasting Taiwanese family on the mend, lip-synching Australian drag 
queens on the road, and Republican bachelors on the make in anti- 
American Spain. John Powers deciphers these foreign affairs 

i lady: Jacqueline Bouvier photographed for vogue 
, August 15, 1951. Page 246. 

144 Television Tales of insanity: Oscar-winning documentarian Alll 
Light found it easy to win the trust of her subjects for Dialogue\ 
with Madwomen. As Sean Elder finds out, she'd been 
institutionalized herself 

1 46 Music Phair game: Liz Phair's brash, blunt, and sexually explicit ( 
album made her a critics darling— and a figure of controversy. MJ 
McCormick visits Phair as she records her follow-up, combats hei| 
stage fright, and prepares to transcend cult status 

1 50 Art Body of evidence: The female form has always been a favored | 
subject of artists, usually male. But now women have taken contrc 
transforming their own bodies into tools to create art of anger. \ 
even grotesque beauty. Roberta Smith looks at the connection 
between flesh and fantasy 

158 Books Young and restless: In Richard Holmes's Dr. Johnson and i 
Savage. Rhoda Koenig meets Johnson before he met his Boswell. 
also evaluates White Eye. a thriller about a quirky Australian anir 
rights activist, and Mr. Vertigo, Paul Auster's new novel about a I 
who learns to fly 

1 68 Politics The liberation of Christie Whitman: Survivor of a brutal | 
campaign and the shortest honeymoon on record. New Jersey's 
first female governor is still called a "broad down the hall" by 
members of her own party. But as Eric Pooley reports, she's not 
worried about a thing 

246 The unforgettable Jackie Despite the hype and the headlines, tj 
magazine covers and gossip columns, Jacqueline Kennedy Onassi [ 
managed to remain a private woman. Yet her death was experiencJ 
with an intensity of emotion that took many of us by surprise. Marl 
Brenner examines the hold that the former first lady retained on th| 
generations of Americans 

254 Prizewinner Jacqueline Bouvier proved herself a winner long bel 
she married John F. Kennedy or became first lady. In 1951. out olf 
field of more than 1 .200 college women, she was awarded Kogwe's| 
Prix de Paris 

256 Sky's the limit In the remote town of Lone Pine. California. actrJ 
Kelly L\ neb and her screenwriter husband. Mitch Glazer. discoveij 
not only a masterpiece of modern architecture but a never-ending 
drama of land and light. Hamish Bowles surveys the terrain. 
Photographed by Bruce Weber 

264 Fancy that Considering that humans can eat virtually anything, 
it's somewhat surprising that we all choose to eat the same things. 
From quiche to kiwis to clear beer, from low salt to oat bran to 
fat-free. Americans embrace the latest trends and then move on. 
Jeffrey Steingurien wonders wh\ we're more obsessed with fads 
than we are with food 

Vogue Style 

291 Living The desk set: Today's liveliest offices are as witty as the\ are I 
efficient, as expressive of personal style as of corporate power, findl 
Hamish Bowles 

298 Horoscope B> Athena Starwoman 

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Editor in ChieJ 

Fashion Director GRACE CODDINGTON 

Managing Editor LAURIE JONES Art Director RAUL MARTINEZ Creative Director ANDRE LEON TALLEY 


Executive Fashion Editor PHYLLIS POSNICK Fashion Director. Accessories/Shoes CANDY PRATTS PRICE 

Fashion News Director (CATHERINE BETTS Fashion Market Director SUSI BILLINGSLEY 

Fashion Editor at Large CARLYNE CERF de DUDZEELE 



Bookings Editor PRESTON WESTENBURG Fashion Copy Editor KRISTIN VAN OGTROP Fashion Writer SALLY WADYKA 



Beauty and Health 


Beauty Writer WENDY SCHMID Health & Fitness Associate DEBORAH PIKE 

Beauty Assistant ANNE WEINTRAUB 





Bookings Editor MAGGIE BUCKLEY 


Features Assistant SHAX RIEGLER 


Senior Associate Art Dim tors SHEILA JACK. ERIC PRYOR 

Features Photo Editor ESIN IL1 GOKNAR 

Art Assistant JOHN LIN Assistant to the Art Director ANDREA VAN BEUREN 


Editorial/Art Production Manager PAUL KRAMER Associate DONNA SOLLECITO 




Reader Information SHIRLEY CONNELL 

Assistant to the Managing Editor JENN IFER OWEN 

Assistant to the Editor in Chief HELEN YTUARTE 

Paris Bureau Chief SUSAN TRAIN Paris Editor FIONA DaRIN 


West Coast Editor LISA LOVE Associate CRYSTAL MOFFETT 

Consulting Editor SHELLEY WANGER 





Editorial Business Manager LINDA RICE Associate Business Manager CHRISTIANE C. MACK 

Director of Public Relations and Communications PAUL WILMOT Assistant KATHRYN GRACE PHELAN 

Editorial Advisor LEO LERMAN 


Editorial Director 


VOGUI v i 






. . 






NORMAN WATERMAN Associate Publisher 


Advertising Director D\ W I ( >SHIN 

Advertising Manager THOMAS H HARTMAN Retail Director SUSAN YORK 


Fashion Director DONNA KORREN European Fashion Director RENEE MOSKOWITZ 


Marketing DirectorMAR\A ( ,i NOVESI 

Marketing Associate DINA KLUGMAN Marketing Coordinator ANDREA BEECHER 

Advertising Services Manager DIANE LEE 

Publisher Assistant RENEE IFILL Associate Publisher Assistant CARMEL SHELLEY 

Advertising Tel: 2 1 2 880 8800 Advertising Fax: 2 1 2 880 692 1 



Retail Events Director LAURINDAFINELLI 

Merchandising Sen-ices Manager NEGI VAFA Retail Events Manager ANNE RESSA 


Retail Events Coordinator JUDY NOGLOWS Merchandising Services Coordinator JULIE SANK ] 

Store Credits Editor DOLLY MORTON 


Creative Services Director MARCI A WEINBERG MOSSACK 

Promotion Director JANE GRENIER 

Production Director DAMIAN CARLINO 

/Vomof/on/4r/Z);r«7orSHELLEYBENNERRAWLEY Copy Director KATHl VAN ZANDT| 

Promotion Manager ELIZABETH MATT 


Copywriter LYNETTE CALVERT Production Coordinator AUTUMN CUMMINGS 

Branch Offices 

New England 350 Madison Ave.. New York NY 1 00 1 7 Tel: 2 1 2 880 8800 Fax: 2 1 2 880 692 1 

Midwest & Dallas LORA SEPP GIER. Manager. BARBARA EDWARDS. Account Manager. 

875 No. Michigan Ave. Chicago IL 6061 1 Tel: 312 649 3500 Fax: 3 1 2 649 0284 

Detroit & Canada TRACI VAN GORDER. Manager. 3250 West Big Beaver Rd., Troy MI 48084 

Tel: 3 1 3 643 0540 Fax: 3 1 3 643 6562 


6300 Wilshire Blvd.. Los Angeles. CA 90048 Tel: 213 965 3598 Fax: 213 965 4982 

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Southeast MILLER & TILLMAN. Reps.. TOMMY TILLMAN. 4651 Roswell Rd.. N.E.. Suite 201-C. Atlant 

Tel: 404 252 9588 Fax: 404 252 6616 
GARDNER BELLANGER. Associate Publisher for Europe. DIANE KOCUPYR. Advertising Manager. 
CLAIRE AUKETT. Manager. France. ALEXANDRA CAUDWELL. Advertising Coordinator. Eur, 
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Tel: 852 528 9 1 2 1 Fax: 852 528 3260 
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Depun Chairman Editorial ALEXANDER LIBERMAN 



Executive I Ice President Treasurer ERIC C. ANDERSON 


I Ice President-Circulation PETER A ARMOUR 

I Ice Presidents Manufacturing and Distribution IRVING HERSCHBEIN. KEVIN G. HICKEY 

I &* President Corporate Research ECKART L GUTHE 

I ice President-Creative Marketing \e» Media ROCHELLE UDELL 

Director of Advertising Prociuction PHILIP V. LENTINI 

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si Bs( RIIMION INQl IRIES: Pleas* write to VOCIF. Box 55980. Boulder. CO 80322 or call (800) 234-2347. Address all 

business. and production correspondence lo Vogue Maga/ine. 350 Madison A\cnue. New York. NY 10017. 




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When Marie Brenner's eleven-year-old daughter told her that 
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her own mother's grief 30 years earlier when President Kennedy 
was assassinated. On page 246 Brenner reflects on the former first 
lady's enduring appeal and her impact on several generations of 
women. "Jacqueline Kennedy brought a new poise and elegance 
to the White House, but our fascination with her might in part be 
tangled up with our feelings about our own mothers. For mine, a 
child of the Depression like Jackie Kennedy, Mrs. Kennedy was her 
new affluence, her passion to learn French and to take me to Paris 
by age fifteen, her endless diets, and her ambivalence about her 
immigrant grandparents. Jackie Kennedy was her finishing school." 
Brenner is a staff writer for The New Yorker. She is the author of 
four books and is currently working on a memoir about her family 
in south Texas. contributors ^52 

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elaine shannon 

Elaine Shannon, the Washington, D.C.-based Time reporter who writes 
about post-Anita Hill sexual harassment in this issue, is all too familiar I 
with the subject. "It's happened to all of us— young, old, gorgeous, plain] 
Shannon says. But she was prepared. At the age of fourteen, her father 
taught her a handy technique— sticking a finger behind a lunger's jaw, ji 
below the ear, as hard as she could. Shannon says she tried it in the bat, 
of a few '57 Chevys. When interviewing the National Institutes of Health 
director Florence Haseltine for the story, Shannon discovered that 
Haseltine had resorted to the same technique while working as a waitrejf 
when she was at MIT. Shannon says women can't trust the law to prott 
them on the job. "One of the messages of the piece is that you have to 
stand up for yourself," she points out. "You can't wait for someone to 
discover that you've been victimized. The workplace is tough and nasty. 
Shannon, who has written for Vogue, Working Woman, and Newsweek i< 
married and has a four-year-old son. 

roberta smith 

Roberta Smith is proud to say she was born in Manhattan. But her 

stay in New York was a bit short-lived: At five weeks, she moved to 

Kansas and spent her formative years in a university town. In 

college, however, Smith enrolled in a program at New York's 

Whitney Museum and realized "in a minute that this was where I 

was supposed to be." Smith, who examines women artists using 

their own bodies in their work, on page 150, has been writing about 

art since the early seventies and was a critic for the Village Voice 

from 1981 to 1985, before going on to The New York Times in 1986. 

For Smith, writing about the vast New York art world is something 

she always wanted to do— it's "both a privilege and a challenge 

because there is much too much to cover The great thing is 

that you can write about the Picasso show at the Met, or on a 

Tuesday morning you can walk into a gallery and see a show of an 

artist you've never heard of and write about it for Friday's paper." 

Smith and her husband, Jerry Saltz, who is also an art critic, spend 

much of their time together going to galleries. "We don't have any 

fights about what we're going to do on Saturdays." 

eric pooley 

Having reported on subjects ranging from David Letterman's writers 
New York panhandlers, Eric Pooley knows instinctively what makes a 
good story. Thirty-four-year-old Pooley— who profiles New Jersey 
governor Christine Whitman on page 168-began his journalistic 
endeavors in Germany, where he had planned to write a book on the 
World War II memoirs of East and West Germans. Instead, Pooley 
chronicled another compelling tale: East Germans illegally protesting 
the presence of Soviet missiles in their own country. A year later, 
Pooley joined New York magazine as a researcher and has since rise.| 
to the rank of columnist, covering urban affairs, city and state politic 
and crime. "In New York, politics and crime are often 
indistinguishable," he says. "The unending and intractable number oil 
rip-offs and scams make for great storytelling." And so do the details] 
Christie Whitman's ascent into politics. 'Because she had such a 
tough campaign . . . we're just now finding out who she is." Pooley hq 
also written for Playboy, Premiere, and the German magazine Geo. H<| 
lives in New York with his wife and two-year-old daughter. 



VOGUE K V G U S 1 1 ">l 



I h 




elaine shannon 

Elaine Shannon, the Washington, D.C. -based Time reporter who writes 
about post-Anita HIM sexual harassment In this issue, Is all too familiar 
with the subject. "It's happened to all of us— young, old, gorgeous, plain,' 
Shannon says. But she was prepared. At the age of fourteen, her father 
taught her a handy technique— sticking a finger behind a lunger's Jaw, Ji 
below the ear, as hard as she could. Shannon says she tried It in the ba 
of a few '57 Chevys. When Interviewing the National Institutes of Health' 
director Florence Haseltlne for the story, Shannon discovered that 
Haseltlne had resorted to the same technique while working as a waitrc 
when she was at MIT. Shannon says women can't trust the law to protc 
them on the Job. "One of the messages of the piece Is that you have to 
stand up for yourself," she points out. "You can't wait for someone to 
discover that you've been victimized. The workplace is tough and nasty." 
Shannon, who has written for Vogue, Working Woman, and Newsweek Is 
married and has a four-year-old son. 

roberta smith 

Roberta Smith Is proud to say she was born In Manhattan. But her 

stay In New York was a bit short-lived: At five weeks, she moved to 

Kansas and spent her formative years In a university town. In 

college, however, Smith enrolled In a program at New York's 

Whitney Museum and realized "In a minute that this was where I 

was supposed to be." Smith, who examines women artists using 

their own bodies In their work, on page 150, has been writing about 

art since the early seventies and was a critic for the Village Voice 

from 1981 to 1985, before going on to The New York Times In 1986. 

For Smith, writing about the vast New York art world Is something 

she always wanted to do— It's "both a privilege and a challenge 

because there Is much too much to cover .... The great thing Is 

that you can write about the Picasso show at the Met, or on a 

Tuesday morning you can walk Into a gallery and see a show of an 

artist you've never heard of and write about It for Friday's paper." 

Smith and her husband, Jerry Saltz, who Is also an art critic, spend 

much of their time togother going to galleries. "We don't have any 

fights about what we're going to do on Saturdays." 

eric pooley 

Having reported on subjects ranging from David Letterman's writers to 
New York panhandlers, Eric Pooley knows instinctively what makes a 
good story. Thirty-four-year-old Pooley— who profiles New Jersey 
governor Christine Whitman on page 168— began his Journalistic 
endeavors In Germany, where he had planned to write a book on the 
World War II memoirs of East and West Germans. Instead, Pooley 
chronicled another compelling tale: East Germans Illegally protesting 
the presence of Soviet missiles In their own country. A year later, 
Pooley Joined New York magazine as a researcher and has since risen 
to the rank of columnist, covering urban affairs, city and state politics, 
and crime. "In New York, politics and crime are often 
indistinguishable," he says. "The unending and intractable number of 
rlp-offs and scams make for great storytelling." And so do the details ol 
Christie Whitman's ascent Into politics. "Because she had such a 
tough campaign . . . we're Just now finding out who she Is." Pooley has 
also written for Playboy, Premiere, and the German magazine Geo. He 
lives In New York with his wife and two-year-old daughter. 












lllr "■ 














"We support artistic freedom and creative license 
but draw the line at nude footage.'* 

— Kenneth Cole 

Call 1-800 KEN COLE for a catalog or a store location 






We support artistic freedom and creative license 
but draw the line at nude footage.' 

— Kenneth Cole 

Call 1-800 KEN COLE for a catalog or a store location 








Your childhood isn't lose, you just misplaced it. 

It's probably in a closet 
behind an old Concentration 

game or buried under 
a pile of mortgage payments 

somewhere. So dig 
it out, use it. Do something 

incredibly un-adult. 
Then carry it with you, so 

you'll always have it 
handy when you need it. 



They feel good." 

alking back 

letters from readers 

left to right: Geena Davis on the May cover, and one of this summer's bikinis, both photographed by Steven Meisel; 
Lion Cemetery in Sarajevo, photographed by Tom Stoddart 

No excuses 

Congratulations to Julia Reed for her Up Front 
piece "Excuse Me" [May]. It seems that mea cul- 
pa no longer is part of the American character. 
Joseph D. Considine 
Henniker, NH 

The article "Excuse Me" really struck a chord. This 
"It's not my fault" attitude is corroding the Amer- 
ican fabric and making a mockery of the princi- 
ples that helped build this great nation. 

I remember hearing a friend state that she and 
her husband fired a baby-sitter for telling their 
child, when the child bumped into a table: "Tell 
the table, bad table, you hurt me. Now slap the 
table and say you don't want that to happen 
again." Bad table? Come on. I applaud the par- 
ents for trying to bring this child up with a sense 
of what you are doing who you are doing it to, and 
what you can do to make your own life better . . . 
taking basic responsibility for your actions. 

Reed's article was right on. 

Leslie Drivon 
Elk Grove, CA 

Your Up Front article by Julia Reed was very insensi- 
tive to abuse survivors. Their emotional and psy- 
chological makeup is different from that of someone 
who lived in a stable home, although it should not 
provide an alibi for heinous crimes. 

Lorena Bobbitt, one of those targeted in the ar- 
ticle, was severely abused by her sadistic hus- 
band, John Wayne Bobbitt. What Lorena did was 
try to remove the organ that caused her so much 
pain. However, her act of violence should not be 
overshadowed by the multitude of harmful acts 
committed against her by her husband. And 
Reed's crack about the mental institution being 
the "funny farm" stinks. 

Amanda R. Durham 
Atlanta, GA 

I am a forensic psychologist who works with a hos- 
pitalized population of patients commonly called 
criminally insane, so it was with extra interest that 
I read "Excuse Me." I agree with most of what Reed 
writes, as this issue is of continuing concern to 
the mental health and criminal justice systems. 
My reason for this letter is that Reed wrote "I 
remember being struck by the title of the best-sell- 
er When Bad Things Happen to Good People." 
That title and the book have absolutely nothing 
to do with the Bobbitts or the Menendez brothers 
or Tonya Harding. The book was written by the fa- 

ther of a bright and healthy son who tragically was 
diagnosed at around age three or four with prog- 
eria-a disease that causes a child to age at an 
extraordinary rate and generally to die by around 
age eight in a frightful manner. 

In fact, the point of all this is that I am reading 
the latest book by this father/author and in it he 
writes that "being angry, being neurotic, having 
had a less-than-perfect-childhood do not excuse 
you from the obligations of the mentally compe- 
tent. I'm only human is no excuse; I am human is 
a challenge, not a justification." I can add no more 
to Harold Kushner's eloquence. 

Irma Bass-Paul 
Tallahassee, FL 

Daily reminder 

I am a nineteen-year-old Greek student of politi- 
cal science and journalism at the American Uni- 
versity in Cairo. I just finished "Women Under 
Fire" [by Janine di Giovanni, photographed by Tom 
Stoddart, May] and felt impelled to tell you that 
it is the most "believable" piece I have read on 
this war. 

Having lived in Thessaloniki, Greece, most of 
my life, I traveled many times through Yugoslavia 
and have had many Yugoslav friends. I remem- 
ber them now, and their country, and wonder if 
either will ever be reconciled. Yet in our distant re- 
views of the political situation from here in Cairo, 
we care for nothing but motives, hows, whys, 
whens, and wheres. Then we simply go back to 
the daily trivialities of our lives. 

The reason I am writing is that I want to thank 
you. Not for informing me about the war— I get 
that from CNN or Newsweek-but for striking a 
flint in my mind and reminding me that the peo- 
ple in Bosnia are people I know. Once again, 
thank you. I had nearly forgotten. 

Jasmin Swesi 
Thessaloniki, Greece 

A class act 

Hooray for Geena Davis ["The Brainy Bombshell," 
photographed by Steven Meisel, May]! At last an 
actress I can respect. George Kalogerakis's article 
showed a woman sure of her femininity who is sexy 
without pandering to the film world's love of raunch- 
iness and depravity. 

I wish Davis luck in her efforts to expand movie 
roles for women beyond those of sick misfits who 
murder at the slightest provocation. Art, in this 
case, does not necessarily have to reflect society 
at its worst. It was refreshing to read about an ac- 

tress who is secure unto herself. Her indeper 
spirit is to be commended. 

Connie The 

Suit yourself 

Your May issue was full of insight and originl 
One terrific idea was having Steven Meisel [ 
tograph "Bikini Bound" in a studio rather thai 
the beach— pure genius. I hope this kills the j 
tradition of the beauty-at-the-beach type of 
tos, which now, because of the endless repetj 
of that type in every fashion magazine's suri 
issue, lack any erotic appeal. 

"Fashion's New Woman: Strong and Sexy] 
Katherine Betts, was a wonderful article he| 
ing the return of something everyone adr 
(everyone except women-hating conservat| 
and femininity-hating feminists): glamour. 
Juergen Teller's accompanying photograph! 
Nadja Auermann show that it is indeed very b I 
tiful. I also thought Katherine Betts's remark j 
"the streamlined look owes a lot to the i 
woman Yves Saint Laurent created in the t| 
1970s— all straight lines and strong shapes, 
a certain forceful femininity" was correct. E| 
more than Giorgio Armani or Halston, Saint I 
rent has influenced modern fashion: The co 
tions he showed in the seventies were so prop 
ic that 20 years later designers are strugglin| 
surpass him. 

Damion Dool 

Once again I am greatly disturbed by the poJ 
ful message you are sending through articles si 
as "Bikini Bound." You describe the bikini as 
mer's ultimate expression of the strong, wor 
ly look," yet Niki Taylor's gaunt figure seems to 
emplify anything but that. 

Helena M. Robinl 

Weighing in 

After reading the exchange between Jeffrey Stl 
garten and the irate "medical" professional [T| 
ing Back, May], I had to laugh, and then writT 
I embraced the complex carbohydrate "all-»l 
can-eat" theory with open mouth, essentially! 
cause I had given up most fats in my diet. I wq] 
have lived on crackers, pasta, and rice, excl 
that slowly but surely, in spite of exercise and f 
fat," I kept gaining weight. Strange, gross, mul 
belly fat. » 



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Know your options. 

Early detection of breast cancer can 
mean the difference between life and death. 
But the tear of mastectomy may prevent 
some women from practicing the early 
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For women lacing the prospect of a 
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talking back 

The medical aspects of Steingarten's article 
made so much sense to me. "Beer bellies" and 
"middle-age spread"— I realized that this is what 
I was developing, and I don't even drink beer. I 
do drink martinis and wine as well as eat all of 
those complex carbs. No wonder! 

I have been on a modified Montignac diet for 
four months and have lost eight pounds. Being 
aware of the chemistry of edting has made the 
difference in my dieting. 

Steingarten's point really came home to me, 
though, when I read the quote from the moun- 
tain climber who said that before a climb she 
eats all the complex carbohydrates she can 
stand, plus a bread pudding every day ["Peak 
Conditioning," by Sandy Pittman, Fitness, April]. 
She does this to gain layers of life-saving fat. 
And this is what the "medical" professionals are 
telling us to eat to lose weight. Weird. 

Jeanne Fabrikant 
Thetford Center, VT 

The hidden life of dogs 

In the May review of John Waters's Serial Mom 
[Vogue Arts], Joan Juliet Buck referred to Divine's 
act in the movie Pink Flamingos as "coprophil- 
ia." What Divine did in that movie was co- 
prophagia, meaning that he/she ate it rather 
than just took pleasure in being around it. As a 
veterinarian, I unfortunately see quite a few pa- 
tients who suffer from this disorder. 

With that exception, I wanted to mention how 
great it is that the rest of the United States is fi- 
nally realizing what a treasure Baltimore has in 
John Waters! 

Evan A. Feinberg 
Baltimore, MD 

Cat call 

Jambo! Hello! I too went on safari to Kenya and 
Tanzania this winter and was totally enchanted 
by the people as well as the animals. However, 
Julia Reed's eight-day whirlwind tour left her con- 
fused ["Accidental Africa," Travel, May]! Men might 
dream of being cheetahs in Africa, but cougars, 
hardly. Cougars, otherwise known as mountain 
lions, are found in parts of Mexico, Central and 
South America, and in olden days, in the Ameri- 
can West. Acuna Matata! No problem! 

Florence Teiger 
Far Hills, NJ 

Where there's smoke 

I grew up with the same cigarette ads that Su- 
san Tanner did. I agree that advertisers did (and 
still do) make smoking look glamorous; howev- 
er, smoking never appealed to me. In "A Smok- 
er's Tale" [by Steve Fishman, Health, May] Su- 
san Tanner uses the worn excuses of peer pres- 
sure and "fitting in" as reasons for smoking as 
a teen. Fine. However. Susan Tanner is no longer 
an impressionable, acceptance-seeking teenag- 
er. She is an adult who may lose custody of her 
child because of her nicotine addiction. 

What angered me about this article was the 
way in which Susan was portrayed as a victim. Su- 
san is not the victim— her daughter is. No one twist- 
ed Susan's arm and forced her to smoke for six- 
teen years. She smokes because she wants to. 
Now I'm not saying that quitting smoking is easy, 
but if the motivation is not there, then there is no 
way to stop. I hope Susan wakes up (soon) and 
realizes that her daughter's health, as well as her 
own, should be all the motivation she needs. 

LaMonica Jackson 
New Haven, CT 


Truth in testing 

I was taken aback by the Health Report | 
Isadore Rosenfeld, M.D.] on breast implants! 
was published in the May issue. 

Dr. Rosenfeld mentions that "in a separ 
$27.9 million jury award in Houston to thr 
women with implants, a spokesman for < 
manufacturer admitted that the implants I 
leaked but said that 'there is no known 1 
ing to detect such leakage.' " He then goes ] 
to describe a nonspecific antibody test the 
now available. 

The statement by that spokesperson is 
correct, and I want to share with you inforn| 
tion on a test invented by the very silicone | 
pert who testified in that trial and who playe 
critical role in educating the jury about silic 
related disease. 

Nir Kossovsky, M.D., is well known as 
worldwide expert on silicone sensitivity at UC 
He is also the inventor of the Detecsil Silic 
Sensitivity Test, which provides a yes-no i 
sponse as to whether an individual has < 
mune response specifically to silicone a 
as the degree of the response. The Detecsil t 
also measures a silicone-induced immune i 
sponse that can cause diseases of muscle 
nerves, connective tissue, and insulin resistan 
The other test mentioned in the article, thoui 
revealing an elevation in immune response, | 
vides no information on whether the respon 
are linked to silicone. 

The Detecsil test is the only one in the \ 
available today that provides data specifically ( 
silicone-induced immune reactions and wh 
data source has supported the two larger 
awards to women with breast implants. 

Beth S. Brandege 
SBI Laboratoric 
Los Angeles, C 

I have just finished reading the Health R 
by Isadore Rosenfeld, M.D. Frankly, I am a 
palled that you would let this individual adve | 
tise a single testing laboratory (Emerald Bi 
medical Sciences) as your readers' only choic 
for conducting a Silicone Antibody Reactivity/ 
say (SARA). I am equally appalled over the i 
rageous $200 price that was quoted in Di 
Rosenfeld's article to carry out what is in < 
a simple serological test. 

Forgive my cynicism, but after ~areero| 
nearly 20 years as a critical-care . ,e. I car 
not let this pass unquestioned. 

Janet Ondet 
Washington, D.t 

Dr. Rosenfeld replies: I thank Ms. Brandeget 
for drawing my attention to the new Detecsil Sil 
icone Sensitivity Test. At the time I prepared the 
May column, I was not aware of it. As for the 
SARA test, it is indeed only offered at the Emer 
aid Biomedical Sciences laboratory. Unfortu 
nately, both tests remain expensive. I'm tolc 
that the cost for the Detecsil test is $350. Foi 
more information on this new test, pleas> 
(800) 766-6646. 

VOGUE welcomes letters from its readers. Ad- 
dress all correspondence to Letters, VOGUE 
Magazine, 350 Madison Avenue, New York, 
NY 10017. VOGUE also accepts letters via 
the Internet. Address electronic mail to 
Vogiiemail@aol.rom. Please include a 
time telephone number. Letters may be edited 
for length or clarity. 


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Spin 's Guccione Accused of Harassment: 
Allegations Surround Grunge-Rock Glossy 





June] > 

Harassment, then and 

now. above: Outside the 

Supreme Court in 1991, 

protesters gather to 

oppose the Clarence 

Thomas nomination. 

bove right: Unrepentant 

tavy men post-Tallhook; 

right: The president's 

ubiquitous accuser, 

Paula Jones, 

with mother and son. 

You can have this hysterectomy," the 
surgeon said, "if I can have a fuck." 
The famously unshockable nurses 
stopped bustling and stared at Florence Hasel- 
tine, the hospital's lone female resident. 

"OK," said Haseltine, scrubbing up. She 
wanted to specialize in gynecologic surgery, 
but none of the attending surgeons would let 
her near a scalpel. This, however crudely put, 
was her first break. 

"When do I collect?" the surgeon de- 
manded afterward. 

"When I'm old and gray and really need 
it," Haseltine said, and grinned. She told every- 
body the story. 

"I wasn't going to let men that stupid in- 
terfere in my life," she says. "I had a lot 
smarter men try to ruin me in grad school." 

There were no laws against sexual harass- 
ment in the 1970s, and if there had been, Hasel- 
tine— now 52 and director of the Center for Pop- 
ulation Research at the National Institute of 
Child Health and Human Development-prob- 
ably would not have invoked them. Like other 
successful women of her generation, Haseltine 
picked her way through uncharted, heavily 
mined territory, armed with nothing but wit, 
nerve, and a very thick skin. When she was pa- 


the sex wars, continu 

Anita Hill put it on the agenda. Paula Jones made it cji 
conservative cause. Working women have never ha| 
so much protection from sexual harassment. But ar 
we really any better off? Elaine Shannon investigats 

tronized or propositioned, Haseltine let fly with 
a zinger, if one came to mind, or just blew it off. 
When male surgeons told dirty jokes in the op- 
erating room, Haseltine swore more creative- 
ly. By the time her residency was winding up, 
she could peel paint at 30 paces. 

"I could have been an absolute lady, of which 
there was one," she says. "She fled to another 
program and eventually committed suicide. For 
me. lady was a four-letter word. Nobody would 
ever mistake me for Jackie Kennedy." 

These days Haseltine is trying to watch her 
mouth in deference to a recently instituted Na- 
tional Institutes of Health sexual harassment 
policy, under which several men have been dis- 
ciplined for foul language. She figures, fair's fair. 
On the other hand, she knows that just below 
the surface, not that much has changed, and she 
worries about younger women. Not long ago, 
Haseltine sent a protegee to interview for an ex- 
ecutive job in private industry. "The guy who's 
in charge picks her up in a limo and lunges at her 
in the back of the car," Haseltine says, sighing. 
"She got really incensed." Haseltine would have 
zapped the guy verbally or gotten out of the car— 
"or 1 might have decided to take him up on it." 
she laughs throatilv but in any case, she thinks 
she would have forgotten about it by nightfall. 

To those of us make-it-up-as-you-go gue 

rillas of the gender wars of the sixties and se 

enties, when there were no rules of engag 

ment, the current crop of young professio 

als seems better groomed, better briefed, mo 

organized, more serious— yet somehow mo 

vulnerable. They have emerged from colleg 

believing all the rhetoric about how wome 

and men are equal under the law. In principl 

that's true. But in practice, there are mar 

workplaces as unenlightened and inhospitab 

to women as they ever were. As one your 

professional woman puts it, "I just wanted 

go back to the university, shove the degn 

down their throats, and say, Give me my mc 

ey back. Nobody told me it would be like this 

These days you cannot pick up a newsp 

per without reading about sexual harassme 

charges at this corporation or in that polii 

department or against the president himsei 

Last April the Donna Karan Compai 

ousted David Golden after only a month 

the company's chief financial officer, in pa 

because he allegedly said that a female exec 

tive had used "sexual favors" to secure her jc 

(Golden is suing Karan over the dismissa 

In May the secretary of the navy, John D; 

ton, publicly apologized to Lieutenant ► 









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LEA S.¥& p A?fABW E o 











■ I V/l II 

arlene Simmons, who had been locked in a 
lychiatric ward for three days and given neg- 
ive job evaluations after she accused a se- 
or officer of offering to advance her navy 
ireer in exchange for sex. And in June the 
niversity of California at Los Angeles dis- 
osed that in the last four years it had settled 
ises worth more than $ 1 million with women 
ho had been raped, harassed, or had been 
ctims of discrimination. 
The U.S. Equal Employment Opportuni- 
Commission has seen its sexual harassment 
implaint caseload more than double in three 
»rs-to 7,273 in 1993, compared with 3,295 
1 199 1 . This year, filings are already up 1 5 
ircent over last year. 

"Look where we've come since 1991," says 
larriett Woods, president of the National 
/omen's Political Caucus. At the Senate hear- 
igs to confirm Supreme Court Justice Thomas, 
ye says "the battle was to have [Anita Hill's ac- 
usation of] sexual harassment taken serious- 
'. Now sexual harassment seems the most ac- 
epted, telling charge you could make against 
Dmeone in power." 

Indeed, some commentators fret that we 
re veering dangerously close to obsession. The 
ery term sexual harassment evokes confusion, 
nger, and defensiveness on the part of many 
len and, as well, some women, who equate it 
ith whininess, prudery, and lack of toughness. 

If the proclamation of the "death of flirt- 

the Kaleel Jamison Consulting Group in Wash- 
ington, D.C. Even some women's groups are 
urging companies with especially aggressive 
antiharassment policies to lighten up. "Com- 
panies make a big mistake when they try for a 
quick fix and go around ripping posters off the 
walls," says Ellen Bravo, executive director of 
9to5, a national organization for working 
women. "The men feel they're all being treat- 
ed as jerks. No distinctions are made between 
levels of behavior. They say, It wasn't like this 
when we didn't have so many women here. 
They say, I won't talk to a woman unless I have 
a witness or a tape recorder. That's a terrible 
atmosphere to have." 

Much of this confusion is due to sheer ig- 
norance—sometimes willful ignorance— exac- 
erbated by talk-show screeds and political ex- 
ploitation, which have trivialized the idea of 
sexual harassment until it resembles nothing 
that is actually in the law. 

The Clinton case is emblematic. Granted, 
for hot summer tabloid reading, it's hard to 
beat the saga of Paula Jones, a former 
Arkansas state clerk with more hair than skirt 
or tank top, and her rambunctious clan, what 
with sister Charlotte Brown saying that Jones 
had told her that "whichever way it went, it 
smelled money," and brother-in-law Mark 
Brown, whose forearm bears a naked-woman 
tattoo, telling Newsweek, "I've seen her at the 
Red Lobster pinch men on the ass." Not to 

ppers tune In to Anita Hill's testimony before the Senate Judiciary Committee In October 1991, left. Attacked at 
Tailhook and then shunned by colleagues, Lieutenant Paula Coughlln, right, ultimately resigned from the navy. 

ng" is premature, some people— including the 
aula Jones fan club— are taking the idea of 
sexual harassment to a ludicrous extreme. For 
ixample, the woman who raised her hand at 
i Washington, D.C, corporate seminar on 
larassment and asked whether she should turn 
in a colleague who had invited her to lunch. 
Or the Pennsylvania State University profes- 
sor who insisted on removing a copy of Goya's 
i VakedMaja from her classroom. 

"For many men, and, I think, women too, 
the response has been to avoid each other," 
says Judith H. Katz, senior vice president of 


mention Gennifer Flowers reemerging to de- 
clare, "It's not like Bill to pull down his pants." 

For politics-crazed groupies, of which there 
are more than the other kind in Washington, 
the story irresistibly pits the Christian right 
against liberals and feminists. "The liberal 
press made such an amazing cause celebre 
about Anita Hill's trumped-up charges against 
Clarence Thomas," crows evangelist Pat 
Robertson. "And they [feminists] coached her 
and gave her all this material, which had none 
of the validity that Paula Jones has." 

"Speaking out against sexual harassment 

should know no political boundaries," says 
Christian Defense Coalition executive direc- 
tor Patrick Mahoney, announcing a fund-rais- 
ing drive for Jones's legal fees. 

But the truth is, the president's accuser has 
a lousy case. "The Paula Jones case is at best 
marginal," says Eleanor Smeal, president of the 
Feminist Majority Foundation. "At worst, it's 
not sexual harassment at all." 

Linda Chavez, who was director of the U.S. 
Civil Rights Commission in the Reagan ad- 
ministration and is now a fellow with the con- 
servative Manhattan Institute, warns that by 
championing Jones, "conservatives have now 
given the appearance of adopting the most rad- 
ical feminist definition of harassment— the idea 
that the crime can be judged from the point of 
view of how the victim perceives her wrong. In 
all other crimes you have to show evidence of 
actual damage or wrongdoing, but in sexual ha- 
rassment, it exists in the mind of the victim." 

Chavez, like many other women, liberal and 
conservative, finds it hard to believe that Jones 
was really afflicted with the "intentional . . . emo- 
tional distress" for which she claims she deserves 
$700,000 in damages, even if, as she alleges, Clin- 
ton invited her to a hotel room, dropped his 
pants, and said, "Kiss it." And even if what she 
says is true, there is no evidence that she was 
pressured for sex in exchange for job benefits. 
The focus on cases like Jones's obscures 
the fact that the law is clear and common- 
sensical. In unanimous decisions 
handed down in 1986 and last 
year, the Supreme Court de- 
fined sexual harassment expan- 
sively, outlawing not only so- 
called quid pro quo harass- 
ment—in which a boss demands 
sexual favors— but the "hostile 
work environment." As Justice 
Sandra Day O'Connor put it, 
that means a workplace "per- 
meated with discriminatory in- 
timidation, ridicule, and insult." 
Last fall, feminists won anoth- 
er major victory when the 
Supreme Court unanimously 
ruled that a woman need not have 
a nervous breakdown in order to 
prove that she'd been harmed by working in 
such an atmosphere. 

On the other hand, the Supreme Court 
has taken pains not to give the law a hair trig- 
ger: While a single awful act by a boss— say, 
grabbing a woman's breasts or crotch— can 
support a quid pro quo claim, as O'Connor 
wrote, "conduct that is merely offensive" is 
not grounds for a hostile-environment lawsuit. 
There is nothing gray about many of the 
actual cases now before the EEOC or the 
courts. And the sad fact is, when women fight 
for basic human rights on the job, they ^86 


In five years yo 
creaks and loos 

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This will lead to fewer 
squeaks and other dist 
noises you've probably 
to expect or accept fro 

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a High-Power stereo cassette control and the ease of power 
with six speakers that is also steering will also add to your 
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It will make you sing. someone who chooses to be 

In fact,you could say the as comfortable and relaxed as 
same thing about the entire possible when you drive. But 
Civic interior.There's a lot of please remember you should 
I is much less noticeable, room in here. For your legs, always wear your seat belt. 
Our engineers gave the your elbows, and your head. After all, we want you to 

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ti ng VTEC engine with the power moonroof which a r^ Ahf^H 

vible valve timing and lift, has a handy tilt feature. Or^^ r^mFw^wJ^ 
valves open and close at when you fold down ^ 


ip front 

still risk everything and often lose. 

No one doubted the truth of Navy Lieu- 
tenant Paula Coughlin's account of what hap- 
pened at the navy's 1991 Tailhook conven- 
tion. The defense department's inspector gen- 
eral concluded that 83 women and 7 men 
were attacked in an "atmosphere of de- 
bauchery"— but potential witnesses developed 
amnesia and prosecutors were unable to ob- 
tain convictions in Coughlin's case or any oth- 
er. Coughlin resigned her commission 
last spring, citing retaliation by her fel- 
low officers. 

And take the case of "Monica," a 
rising star in the field of institutional 
sales. During her first year with her 
company, she boosted sales in her ter- 
ritory by 250 percent. Now, at 28, her 
career is on hold, hobbled at every turn by a 
boss from hell who announced "women don't 
belong in this industry" and set about to dri- 
ve her away. "All tits, no brains," he sniped. 
"Dumb blond." He told her male colleagues 
that she racked up sales by "giving headers in 
the back room," changed sales reports to sab- 
otage her bonuses, paid her half what her male 
colleagues earned, and encouraged his pro- 
teges to treat her with contempt. She finally 
called a lawyer, sued the company, and filed 
a complaint with the EEOC. "The smart thing 
I did was document and save," she says. 

The bad news is, Monica could wait for 
years to see her case adjudicated. The law, like 
chemotherapy, is only a blessing when it 
works. The EEOC is a dull sword and a weak 
shield. Starved under the Reagan and Bush 
administrations, the EEOC has just 788 in- 
vestigators— 17 percent fewer than in 1988 — 
and each one is handling more than 100 cas- 
es. The backlog is horrendous. 

Monica is fighting depression as she search- 
es for another job. "I didn't do anything 
wrong," she says. "Why should I have to 
leave?" But that's the reality. She expects to 
be branded as a troublemaker and blackballed 
out of her small, male-dominated industry. 

Clarice Seko, 41 , was driven out of her job 
and to a lawyer after she complained of ha- 
rassment at the McDonnell Douglas plant in 
St. Louis. The only woman in her department 
in the "black hole" where the secret navy A- 
1 2 attack aircraft was being assembled, she 
claims in a lawsuit that she was poked, pawed, 
winked at, and pestered constantly, especial- 
ly as her pay approached $ 1 6.42 an hour. 

"I was told women don't belong in there, 
that women aren't worth a fuck," Seko says. 
"They told dirty jokes all the time. One guy 
came out of the bathroom, making a motion 
like he was masturbating. Another guy said, 'I 
may be an old man but I can still lick the jar.' " 
"Management didn't do anything for me," 
she charges. "The union didn't help me and 

was part of the harassment. One boss tried to 
help, and they retaliated against him." She is 
suing McDonnell Douglas for maintaining a 
sexually hostile workplace. Meanwhile, she is 
doing piecework at home. 

"I really am convinced that American so- 
ciety still hasn't figured out where it wants its 
women to be," says Judith Vladeck, a New 
York City lawyer who specializes in sex-dis- 
crimination cases. "The myth of the workplace 

The sad fact is, when women 

fight for basic human rights 

on the job, they still risk 

everything and often lose 

as male turf is still pervasive— that women are 
there on sufferance. Some brilliant writer said 
we think of two kinds of women, Eve or Lit- 
tle Eva. When women begin to take money 
for their services, then they are Eves and they 
are not entitled to any courtesy." 

While the number of cases being filed is ris- 
ing, they represent only a fraction of the actu- 
al incidence of sexual harassment in the Unit- 
ed States. In a March 28, 1 994, survey by Louis 
Harris and Associates, almost 3 1 percent of 
women said they had been harassed at work, 
but only one-third of those took any action. 

"There are so many reasons that keep 
women from reporting the harassment," says 
Christine Onyango, who runs a national hot line 
through the Feminist Majority Foundation. 
"The bottom line is, they're afraid of losing their 
jobs. Sometimes even female co-workers will 
isolate the woman, so that she has to cope with 
the psychological pressure of being isolated, in 
addition to pressure from the person who's ha- 
rassing her, plus the slowness of the process." 

"A woman is between a rock and a hard 
place," says Boston lawyer Ellen Messing. "She 
can protest every time the jokes come out or 
the put-downs or the suggestive touching or the 
double entendres— at which point she's not a 
team player, she's uptight, she can't get along 
with anybody. Or she can just treat it as part of 
the workplace, which many women, especial- 
ly in traditionally male occupations, do. She fi- 
nally can't take it anymore. She complains, and 
everybody says, 'Gee whiz, she liked it as much 
as we did.' " 

Some argue that harassment is getting 
worse as well-educated, accomplished baby- 
boom women skip the Mary Richards jobs 
and expect Lou Grant status. "There's a new 
generation of women who are not content with 
being helpers and gofers," says Smeal. "Now 
that women are threatening the turf of men, 
harassment and discrimination go up. It's a 
way of keeping them out of the upper ranks." 
Unfortunately, many otherwise talented 



and assertive women fall back into the h 
that were hammered into them as little 
when confronted with harassment on the 
"Be a lady." "Don't make a scene." "D 
tell." "Don't hit back." And the most in; 
ous: "Boys will be boys. Just ignore the 

As Monica says ruefully, "I put up with h 
long. I thought that by outselling everybody I 
by being the good little company girl and pi 
ging along, I could change their minds." 

While Monica and Clarice Seko 
no choice but to sue, young women 
must learn the survival skills that I 
rence Haseltine developed instincth* 
What successful women of her gent 
tion mastered were ways of anticipaS 
evading, and disarming sexual harasB 
without inviting the stereotypical ran 
feminists as hysterical, strident, and humor* 
The notion of intellectual self-defeivts 
now being codified and taught, just as woiM 
are instructed to thwart rapists by avoiding 
ing isolated and cornered. "The tactics W 
succeed," says self-defense instructor MM 
Langelan, former president of the DC Rj 
Crisis Center and author of Back Off Hoi 
Confront and Stop Sexual Harassment and\ 
rassers, "all involve basic steps of confroj | 
tion that leave the harasser feeling conspl \ 
ous. You say, "Thanks for the complimenl | 
my work, Joe, your hands are all oven 
body, you're two inches from my nose. M 
women don't like that. It can be conside 
harassment. Don't do it again." " 

If it's a sexist remark, Langelan advises 
ing the man to repeat or explain it. if it" 
ally ignorant, they'll get about halfway thro 
and hear themselves and become embarras 
"It's really hard,'* Langelan adds. "Wor 
are not trained to speak this directly to rr 
I make them practice." 

For many women, direct action of the 
Langelan teaches can secure what lawsuits 
dom do: acceptance and respect. Franc 
Moccio of Cornell University's Institut 
Women and Work tells of a woman c 
struction worker who became a legend in > 
York. When a man ascending a ladder ah 
of her dropped his pants and mooned her 
cracked, "Hey Pete, couldn't you shave 
morning?" Her co-workers collapsed vj 
laughter. The harasser slunk off. The st 
spread like wildfire, and the woman cam 
be welcomed at job sites all over the city. 
There is one good thing about the Pa 
Jones story and other such tawdry affairs t 
seem to fixate the press: They occasional 
though not often enough— embolden wor 
with legitimate problems to step up i 
squarely confront their tormentors 

As Bravo of 9to5 says, "You don't alw 
win if you stand up for yourself. But you i 
er win if you don't." • 









TO ORDER CALL 1-800-45 MACY'S • ASK FOR ITEM #899132 


|R A 


L P H 

|_ A U R E 


By Candace Bushnell 

Life after public SCandale Recent history shows that there are 
no first acts in American politics— only second, third, and fourth ones, hope- 
fully involving large advances from publishing companies (Nixon), lucrative 
tours on the lecture circuit (G. Gordon Liddy), and/or the kind of airtime 
money can't even begin to buy. The point is not whether the accused are guilty, 
or even how they'll get away with it (they will), but how well they capitalize on 
it afterward. When dweeby Oregon senator Bob Packwood appeared on 
ABC's This Week with David Brinkley, Brinkley called him "an authority on 
the subject of scandals." (Can appearances as an "expert witness" at the sex- 
ual harassment trials of fellow politicians be far behind?) And when ex-D.C. 
mayor Marion Barry (jailed for cocaine possession) said he might run for of- 
fice again, a local talk-show host said, "People are saying, 'We'd rather have 
him high than have [current mayor Sharon 
Pratt Kelly] sober.' " Happily, scandale is 
democratic: Accusers benefit as much as 
the accused. Anita Hill is now on the lec- 
ture circuit, and Gennifer Flowers is hawk- 
ing those infamous taped conversations. 
Politicians may come and go, but scandales 
can pay off forever. 


is cool: 
Lucie de La 
Falaise and 
Marlon Richards 

The big payoff? Gennifer Flowers 
hawks souvenirs of scandale. 

Go ahead: love too much 

If years of analysis and/or annoying self- 
help books have caused you to actually 
believe statements like "A relationship is 
just icing on the cake" or "A woman 
without a relationship is like a fish 
without a bicycle," brace yourself: 
People who need people are not the 
wimpiest people in the world after all. At 
least that's the idea behind attachment 
theory, which posits that self-sufficiency 
is a lie, and that the cost of social 
isolation is physical and psychological 
breakdown. The theory bravely flies in the 
face of years of Western psychology— which 
has traditionally labeled our desires for 
dependency as neurotic instead of normal. 
"Human beings are wired to be dependent 
on other people," says Susan Johnson, a 
Canadian marriage and family specialist 
who is a proponent of the revolutionary new 
concept "A relationship is not the icing on 
the cake. It is the cake." Some busy 
executives are already tapping into the New 
Dependency. In Atlanta, businessmen, 
Rhodes scholars, and even judges who 
don't have time to make friends can call on 
Mike Correll. a sort of friendship 
matchmaker. Correll fixes up "rather 
sophisticated men who don't like to do 
dummy stuff" with other men who feel the 
same way. Hey, It's a start. 

Future auto-pathographers should 
start taking notes. 

Trash, trash, and more trash? 

Joyce Carol Oates calls it pathography and 
has written, "Its motifs are dysfunction and 
disaster, illness and pratfalls, failed mar- 
riages and failed careers, alcoholism and 
breakdowns and outrageous conduct." No, 
"it" is not the latest episode of Melrose 
Place but the recent spate of celebrity bi- 
ographies that tend to focus on the hapless antics (and physical minutiae) of 
the subject, rather than on his-or her-work. Scott Fitzgerald: A Biography- 
goes so far as to find witnesses who saw Fitzgerald's nether parts; Picasso: Creator and Destroyer describes the artist 
as "a sadistic manipulator"; and Tennessee Williams: Everyone Is an Audience endlessly details Williams's consumption 
of pills and alcohol. What's next? Celebrities who take a pathographic approach to themselves. Glen Campbell has 
already jumped on the bandwagon with Rhinestone Cowboy, in which the singer spills all on his cocaine addiction, 
which included snorting the drug while reading the Bible. And, even though they haven't yet been penned, if the fol- 
lowing auto-pathographies are ever written, we admit we'd like to peek at: Diapers and Bananas: My Life in Never- 
land, by Bubbles the Chimp, as channeled through Marianne Williamson; Trumped? And They Called Me Ivanka .... 
by twelve-year-old model Ivanka Trump ("the newest star of the Trump family," who, according to her modeling 
agent [!]. "has an outstanding attitude"-so far anyway); and fmaKy, At Home with Moose, an autobiography by the 
Jack Russell terrier who plays Eddie on the hit TV show Frasier. Moose just might put Joyce Carol Oates over the 
edge: According to his original owners, before moving to Hollywood from Florida, the dog tore up phone lines and- 
you guessed it— chewed up all the furniture. ^ 




„ fa xforj and The Cameron boo,, in pecan calfskin. CoU-Haan, Dept. RS, 44 North Elm St., Yarmouth, ME 04096 

are talking aooui 

Hollywood family Values Geeky glasses, frumpy dresses, and army boots were just the be- ! 
ginning. Now Hollywood's latest fad-reverse glamour-has stars embracing the sort of homey values 
celebrated by seventies sitcoms like 77ie Brady Bunch. In the kids-are-in category, Nicole Kidman an ' 
Tom Cruise adopted a baby and moved to the Pacific Palisades area-a "normal" neighborhood one 
considered the lowly domain of lawyers and proctologists. Then there's the do-it-yourself group, whk 
means no nannies and "driving your kids to and from school every day yourself," preferably in a "far 
ily" car, like a Toyota Land Cruiser, according to the wife of a famous actor. For some, even that L. 
lifestyle staple, the personal trainer, has bitten the dust. "I used to have one, but now 
she's just my friend" is the most common refrain. So how do back-to-basics 
celebrities stay in shape? They hike in the hills above Santa Monica, or they 
"do the stairs"-not a StairMaster, but a long, steep set of stairs located 
above the beach. But not all celebrities have been able to fully embrace 
the trend just yet. Actress Kelly LeBrock was recently spotted on 
the stairs in what could only be a showbiz version of incog- 
nito— she was wearing a platinum blond wig. 

Male bashing gets scientific Just 

because books like Robert Bly's Iron John have made 
it boringly passe to criticize men for their emotional 
inferiority, it doesn't mean that male bashing is finis. 
A series of recent articles in The New York rimes, 
written by a woman and highlighting the work of 

female scientists and 

s brain: it's all relative 

Prince Charles, take heart: When it 
comes to the remains of famous 
people, royalty fare better than 
scientists. Case in point: King 
Aspelta's nose versus Albert 
Einstein's brain. While historians are 
celebrating the recovery of King 
Aspelta's nose, part of an eleven- 
tall, 2,600-year-old statue of a 
Nubian king in Boston's 
Museum of Fine Arts, 
Einstein's brain (floating in 
pieces In formaldehyde) has 
been rejected by one 
scientific institution after 
another-sort of like Joseph 
and Mary being turned away 
from the inn. What does the 
nose have that the brain 
doesn't? Afterlife. While 
there is nothing remarkable 
about the brain that produced 
the theory of relativity, 
according to Harry 
Zimmerman, professor 
emeritus at Albert Einstein 
College of Medicine and a 
close friend of Einstein's, the 
recovered nose "restores the 
statue's chance for eternity," says 
the museum's Rita Freed. After a 
70-year search, the nose was 
discovered resting comfortably in 
the museum's storage area— a 
mere two floors below the statue. 
Which proves that maybe Einstein 
was right when he said, "God is 
subtle, but He Is not malicious." 


retaliation? clockwise 
from above left: Facia 
hair icons Cruise. Ha I 
and Depp lead the w. 

doctors, have breathed 

new life into the practice by 

denigrating male physiology. 

"The Male of the Species: Why Is He Needed?" 

pondered why women can't clone their offspring 

like some lizards and fish; "Mother's Milk Found to 

Be Potent Cocktail of Hormones" celebrated the 

female body in male drinking lingo; and "Male 

Hormone Molds Women, Too, in Mind and Body" 

reminded us that women's bodies have everything 

men's do . . . well, almost. Some men have already 

begun launching a sneaky counterattack, by doing the one thing women 

can't do well: growing and pruning their facial hair into weird and 

complicated configurations. Forget about the three-day stubble made 

popular by mealy-muscled Hollywood kids. We're talking about Mod 

Squad-ish triangular sideburns, pencil-thin mustaches, and for artistic types 

braided goatees. Look for them on a male near you, and bash them. 

True lOVe Waits . . . But hungry babies don't. Thus the welfare 

debate rages. At its heart is the soaring rate of out-of-wedlock births: Nearly 

30 percent of all Americans are now born to single mothers-22 percent of 

whites and 66 percent of blacks-a situation that almost always leads to 

poverty and welfare dependence. The question: 

How much responsibility does the government 

have? Conservatives want to abolish welfare. 

arguing that women will then either stop having 

babies or get and stay married. Liberals believe 

that women and children will perish on the 

streets. But there's another option. Since many 

single mothers are also teens, maybe 
Washington should get some help from True 
Love Waits, a campaign sponsored by various 
religious organizations that urges teenagers to 
sign "covenants" pledging abstinence until 
marriage. On July 29, the group sponsored a "celebration" of sexual purity in 
D.C., where they displayed their covenant cards on the Mall and convened for 
prayer. Considering that the rate of illegitimate births could reach 40 percent by 
the year 2000. a little help from above couldn't hurt. • 



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he) in the mood for a change. 

It's Fall. 

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Be more colorful. More imaginative. 

Add some dash, panache, and lots 

of smoooooth moves. 

Start the music, maestro. 


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ashion front I tajk » trends ' and tips 

^^^#1 ^^ ^^ ^ v<=>c it iq hnt ontthprp even in the shade. 

By William Norwich 

Yes, it is hot out there, even in the shade. 

Burning up? Not Claudia Schiffer (1), who 

recently took to the cooling waters off Monte 

Carlo with beau David Copperfield for a little jet-set rest and 

relaxation. Her sunblock? Something Revlon, of course — Hiti 

nearest running path in the latest shoes from Nike (2), about i 

bold as the colbrful new trends in fashion get — Color is 

everywhere these days, including in the outfits at Pittsburgh's 

recent Andy Warhol Museum grand opening. 

Onetime Warhol best friend Barbara Allen de 

Kwiatkowski (3) donned a silk-screened dress and 

floral stole that matched the art, while Jane Holzer 

(4) wore more traditional chiffon complemented by 

her handy-dandy Andy mask — Absolutely 

Fabulous, the cult-popular, politically incorrect 

British sitcom, starring Jennifer Saunders and 

Joanna Lumley as a madcap fashion publicist and 

a magazine editor, respectively, airs here beginning 

July 24 on Comedy Central. You'll either love or 

hate AbFab, as it is known, but its fans already 

include Naomi Campbell, Kate Moss, 

Christy Turlington, and Linda Evangelista. 

QUILTS OF LOVE Designer Rlfat Ozbek recently organized a showing in 

London of the 24,000-panel Names Project quirt created as a memorial to 

people who have died of AIDS. Ozbek is planning to bring the quilt, 

for which such English designers as Bella Freud and Katharine Hamnett 

made additional panels, to New York this fall. 

Best-dressed desk 


For his most recent series of 
portraits, artist Alex Katz decided 

to combine fashion and art by 
actually having his subjects appear 
In dresses from Isaac Mizrahi's 
spring collection, which certainly 
pleased Isaac. As for what the art 
community will say, Mr. Katz— who 
shows at the Malborough Gallery 
in New York— does not care. "They 

are so snooty about fashion, I 

decided to stick It to them," Katz 

explained with a laugh. 


Is dressing your desk as essential to success as what 

you wear to work? Perhaps. While most women 

i|]W tend to surround themselves with a few 

comforts at the office, others are careful not i 

to reveal too much detail. Whatever your j 

preference, consider the following I 

suggestions for a well-appointed desk: 1 

Sony's mini-TV to catch the latest J 

breaking news; a wicker thermos from 

Hermes for cold-season herbal cures; 

Faberge's fabulous clock; crystal i 

paperweights from Baccarat; a i 

Bulgari pencil; and Le Mot Juste, the I 

ultimate guide to meaningful phrases J 

in languages such as French, 

German, and Yiddish. 


J0 1 / !^^J|Hb[ 



it . /• 



W £*""M i 


9fc ' ' ^V 








• • 







1 1 


D rT^^^I 







C O U T U R 


s view 

he line: At 
er Beverly 
Hills office, 
tor In chief 
•la Janklow 
ngton, near 
i relies on a 
lex of Mist 
jrtacts and a 
i of plugged- 
in editors to 
produce her 
tally frenetic 
an magazine, 


French beauty 
sa van Zuylen, above, 
tied the intellectually 
ged Parisian quarterly 
wense, right, out of her 
idroom three years ago. 


o. '::::<-•''■-" 

chy- .,..,111" 

Three boldface names— Angela Janklow Harrington, 
Cristina Greeven, and Vanessa van Zuylen— 
start their own glossies in three very different cities. 
Giselle Benatar gets the scoop 

On a recent Wednesday afternoon, Mouth2Mouth editor in 
chief Angela Janklow Harrington— who rarely keeps hers 
shut— is putting the finishing touches on her equally exuber- 
ant magazine for pop-culture-obsessed teens. In less than an hour, she 
has sweet-talked several busy supermodels into a last-minute fashion 
shoot, persuaded a skittish movie star to agree to her photo concept, 
and loudly called for "hot" cover lines. Barely missing a beat— and 
without removing her black platforms from a desk cluttered with stray 
manuscripts and "science diet" doggy biscuits— Janklow Harrington 
is now campaigning to have all specifics about her next issue strick- 
en from the record. "The way I do things is, nobody knows a thing 
about the magazine until it hits newsstands. Then . . . boom!" she stress- 
es in her signature hyperkinetic style. "I believe in high-impact mag- 
azine journalism." 

In media circles, that impact is certainly being felt. In fact, Jan- 
klow Harrington is one of a group of provocative-minded young ed- 
itors who are currently reenergizing magazine publishing. *-106 










In your face: Angela 
Janklow Harrington's 
teen magazine 
Mouth2Mouth is chock- 
full of pop-culture pieces 
such as Amy Fisher's 
personal expose from 
prison, near right, and a 
look at U2 lead singer 
Bono's roller-coaster 
rock career, far right. 

Spurred by the sudden obsession with youth culture, these edi 
tors are producing a series of visually edgy, culturally progres- 
sive new glossies Mouth JMouth, Quake. Tell, L'Insense, Edge. 
Manhattan File designed to appeal to readers who look, speak, 
and think like they do. 

While the last wave of media gurus to cash in on youth cul- 
ture were male Jann Wcnner. 

Janklow Harrington habitually 

scrawls daily to-do lists 

on the back of her hand 

(Demi's number, a reminder 

to buy a Wonderbra) 

About face i 
van Zuylen 
quarterly L I 
above, left t| 
Jacques H< i 
Lartigue's 1 
by the like f> 
Saint Laun *r 
Martin Sec w 

confidently. "This is an extrovert magazine. It's loud, it's nois 
it's all over the map." The magazine's cyberpunkish design abl 
exhibited plenty of attitude. "It's meant to look like the insicj 
of a computer game because that's what the insides of kid 
minds look like." 

Janklow Harrington's personality is easily as adrenahzed 

her new magazine. Dressed I 

Hugh 1 lefner, and Clay Felker 
in the late sixties this time 
around it's a trio of female en- 
trepreneurs spicing up the edi- 
torial mix. In addition to Jan- 
klow 1 larrington, 30, there are 
Cristina Greeven, 24. editor in 
chief of the street-smart glossy 
Manhattan File; and Vanessa 
v an Zuylen, 26, founder of /. Insensi, an eclectic culture maga- 
zine based in Paris. 

Not surprisingly, these media mavens are the hyperconnected 
scions of the cultural elite: Janklow Harrington is the daughter of 
literarj agent Mort Janklow; Greeven grew up among Southamp- 
ton's high-profile set; and van Zuylen is the niece of French socialite 
Mai le-Helene de Rothschild. (Soon to join their ranks is John F. 
Kennedy, Jr., who is reportedly working on a magazine for the po- 
lilicallv conscious: and Ralph Lauren's son David, 22, whose gen- 
eral-interest magazine, Swing, focusing on business, politics, and 
technology . will debut this October). 

Janklow Harrington decided to create Mouth2Mouth when 
she realized the leading teen magazines were missing the point 
about complex, pop-culturally driven younger kids. The Prince- 
ton graduate and former West Coast correspondent for I anity 
Fair quit her job as a development executive for Hollywood pro- 
ducer Ra> Stark, and put together a proposal for a magazine 
targeted at young men and women and loosely based on Mad 
Magazine, I dnity Fan. and British rock rags. Time Inc. Ven- 
tures was suitably impressed. -Angela pitched this m a ga z ine in 
a red suit with red heels lugging about 50 pounds of ma ga zin es,' 1 
recalls Ventures' 64-year-old editor at large. Gil Rogin. "She 
can be enormously persuasive. She's plugged in in ways I don't 
quite understand." 

Plugged in is an appropriate metaphor. Information packed. 
\ isuall) dense, and attitude charged, the first issue o\~ 
Mouth2Mouth, which hit newsstands last March (the second is- 
sue is due out this month), is best described as a print version of 
MTV. "1 know how to titillate kids." Janklow Harrington says 

Rifat Ozbek "totem" stret 
leggings, vintage jewelry, ai 
impossibly high heels, trj 
brassy blond cuts an imposiit 
figure even in over-the-top Bc» 
erly Hills. She is notorious t 1 
her big, booming laugh ai j 
mile-a-minute telephone ma | 
ner. Asked to name a few clol 
friends, Janklow Harrington briskly rattles off a list of high-po j 
ered acquaintances in both New York and Los Angeles, rangn i 
from director /Jek Keshishian to producer Joel Silver. "Angel. I 
definitely a cyclone, and she sort of sucks all of us into the eel 
ter of the storm, which is great." says Silver. "She has great idej 
and a great view point." he adds. "When something uniquely iii 
portant happens in pop culture, she's the person you w ant 
touch base with." "Angela is a student of greatness. She lovj 
people who have an impact on the world, whether it's a RenaH 
sance painter or Eddie Vedder," says CAA agent Jay Molonej 
another influential name on the list. "I think her drive com 
from the fact that she also wants to have an impact. And if si 
can't do it with this magazine," Moloney adds, "she'll do it I 
being the loudest person in America." 

But given the orientation of her tech-friendly audiena I 
klow Harrington who habitually scraw Is daily to-do lists on t' 
back of her hand (Demi's number, a reminder to buy a Wo 
derbra) is already plotting a multimedia future. Her long-ter 
plan is to produce TV and CD-ROM versions of the maga/i 
■■\loutl\2Mouth will continue on the information superhighwa 
she promises. "No stop. No exit." 

Hot on her heels is Cristina Greeven. an Internet user and 
former editor o\' Hamptons Magazine, a must-read for N 
York's summer beach set. Her magazine, Manhattan File, a fi 
hie due out m September, will cater to street-smart, urban 2 
somethings "Beavis and Butt-head are one end of the spectra: 
Greeven explains "On the other end you have the doers yo 
people who are actually going out there and doing somethn 
with their live * ] 



jj. t.;-n r-r' 

\ * h i. * 








you really 

must step on 
someone io get 

aneaa, use a 

very, snar 



charles david 

by Nathalie M 


A Natural 




The brilliant new 

companion volume to 

A Natural History 

of the Senses 

Thrilling. Devastating. Tragic. 
Comic. Universal. It's "the great 
intangible." The hypnotic and 
irresistible perfume of the senses we 
call love. 

Diane Ackerman's, A Natural 
History of Love is a tour d'amour, a 
dazzling tapestry woven from his- 
tory, literature, science, psychology 
— and personal experience. Here is 
love in its many guises. Here is the 
spark that rules our hearts. 

A Featured Selection of the 
Book-of-the-Month Club 


counterparts, van Zuyl< 
still rejects computei 
for production, preferrii 
to cobble together 
layouts by hand 


On a typical workday, Greeven is swathed from head to toe in understated 
The part-Brazilian, part-German beauty, educated at Chapin and Cornell, comes 
as an unusually polished, soft-spoken young woman. But friends insist Greeven 
just the product of her privileged Upper East Side New York background. "Th 
five or six scenes in Manhattan and she mixes in all of them, whether it's the art 
or the whole Upper East Side Serena Boardman thing or the Euro crowd," says 
hood friend Alex Vonf urstenberg. "She's the most ambitious young woman I 
Though she doesn't like to admit that." 

Greeven defines the magazine's focus in terms of the rather unlikely hybrid 
glamour." "It's a youthful sophistication," she explains. "That doesn't mean s< 
glitzy glamour. It's about being naturally cool." Despite the magazine's mi 
downtown offices decorated with plenty of trendy contemporary art, Greeven cl 
File isn't only for the painfully hip. Beneath its glossy veneer, the magazine is mea 
project a youthful, upbeat perspective on the city. "It's an extension of people's li 
she emphasizes. "We don't have 

a political bent, its not about sen Unlike her American 

sationalizing. It's about changing 
people's view of New York." 

Young Parisian culture hounds 
apparently prefer more intellectu- 
al pursuits. Vanessa van Zuylen 
started her three-year-old quarter- 
ly, L Insense, to cater to an oft-ig- 
nored segment of the market— cul- 
turally astute readers who are as 
stimulated by philosophy as by pop 

culture. "I really did a completely anticommercial magazine." van Zuylen claims, 
term that would probably not occur to an American editor. "In France, either youj 
really beautiful magazines with beautiful pictures or you have text^lriven magazine 
Le Dehat with no illustrations. The idea was to put the two together." And so van Zl 
founded her magazine, producing the first three issues from her bedroom with a r| 
2,000-franc investment. 

These modest beginnings are hardly revealed in the finished product, which reser 
an elegant coffee-table volume. Focusing on conversational themes-the bod\ . se 
women-each boldly illustrated issue is designed to stimulate debate. The issue < 
combined an in-depth interview with former KGB operative Oleg Gordievsky, a wil 
mor piece called "The Seven Secre. Vices of James Bond" ("I've seen those filn 
69 times," van Zuylen admits), and an article on accessories designer Loulou de L. 
craft secrets by Yves Saint Laurent ("because he's my fave" ). 

L 'Insense is already credited with causing quite a cultural fizz in France-due in | 
a politely competitive feud with Nicole Wisniak's similarly themed magazine. / 
well as a controversial early piece on family friend Saint Laurent, which reportec" 
van Zuylen into hot water with the designer. While she's contemplating exporting the 
cept to Mexico, van Zuylen has no plans to take L Insense mass market. Unlike her / 
ican counterparts, she still rejects computers for production, preferring to cobble tc 
er layouts by hand. 

The magazine reflects the rather eclectic interests of its severely sophisticated j 
editor, whose casual work wardrobe-jeans, T-shirt, tailored jacket-exudes classic Pi 
chic. A former student at Oxford, the American University in Paris, and the Sorb 
van Zuylen has passions that range from literature to business. Her copious office 
ing material, slacked in discrete piles about her desk, noticeably includes a book of Wj 
Butler Yeats's poetry as well as the top European fashion glossies. "I didnl think the 
azine should be monogamous on a press level." she says of/. Insense^ focus. "We^ 
culture, whether it's fashion or literature or television or cinema. There's a balan«| 
tween what you expect and what you actually find." 

A doomsdayish 1992 article in The Atlantic Monthly predicted that toda\ 
things would produce "a carnival youth culture" devoted to "physical frenzy anc 
itual numbness." But Janklow Harrington. Greeven, and van Zuylen beg to diffe 
every decade people say there is no culture." says van Zuylen. "But that is not vl 
happening 1 really don't think young people are not reading and not thinking. Ci 
is essential to make youth advance." "Who wrote that article anyway?" Greevei 
slvlv interjecting a typical note of 20-something irony. "Some 40-year-old ? • 





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double take 

Coco Chanel invented it in the 1930s, 
in the 1950s. Now the classic twinsef s 

and chic enough to 

"It's a definite option for the working woman who's waning from the 
jacket and blouse look.'' sa\v Michael kois. who showed twinsetS as 
a softer substitute for the structured jacket of an A-line suit. Karl Lager- 
feld went one step further sidestepping the traditional Chanel suit 
with tw insets and matching sweater-skirts in a rainbow of colors. Jean 
Paul C iaultier tapped into the current rage for shrunken mohair sweaters 

and Grace Kelly made it her signature 
got a new twist— pumped up with color 
stand in for a jacket 

and turned them out in technobright colors. And Todd Ok 
stretched his tw insets into long, strapless tartan evening dre^ 
matching cardigans. "The idea is to give a traditional look a mc 
twist," explains Nicole Miller, whose Polartec twinsets are not 
athleticalK inclined, "they're ecological, too— the fabric conten 
percent recycled soda bottles." • VOGUE'S VIEW 








^•f^ £ 



bosom buddies 

As the Wonderbra and other push-up bras give the 

nineties silhouette a big boost, Sally Wadyka 

reviews the foundations of fashion's new contour 

Consider the current epidemic of cleavage fever as just another phase in a century 
of bra booms and busts. Apparently, no one is immune to the bra mania touched 
off by the invasion of the Wonderbra and its bust-boosting competitors this sum- 
mer. Even the house of Chanel is looking to inflate its assets: Karl Lagerfeld has built push- 
up bras right into his fall couture collection. It just goes to prove Christian Dior's maxim 
that "without foundations there can be no fashion." And without fashion's ever-changing 
shape, women might still be squeezing themselves into corsets every morning. Here, a time 
line highlighting the bra's many peaks: 

THE BRA IS BORN, 1889. After centuries of the breast-binding corset. Parisian 
corsetiere Herminie Cadolle splits the female support system in two and patents 
her invention, dubbing it the corselet-gorge (loose translation: corset for the 
bust). Cadolle's primitive bra. however, still features constricting details M24 


,943 § i 

4 Jane RusH 
boosts her ■ 
boosting hi 
in The OutlM 



A Maidenform a 
lQ'fcl to early innerwe 
^ outerwear urges 

famous Dream a 

promise "the lift 
never lets you dc 

'if -A 


<)V| () 

OVW.KM.. B\l. II \H 



► The Harvard 

Lampoon spoofs 

Vlaidenform's Dream 

ids with "I dreamed I 

was arrested in my 

Maldenform bra." 

I in- ni 
to tiiirk 
in my 


•f ISohiqut ihtt 
M III ujicilm eifilil 
!■ brutti 

like cotton net, whalebones, and lacing. In 1914 
New York socialite Mary Phelps Jacob finally 
busts loose by stitching two triangular hankies 
together and tying them on with ribbons. The 
effect: zero support, but just enough coverage 
to preserve her modesty. 



< Maldenform fights 
back, sending its 
"dream girls" to work 
in only their bras. 

FLAT AND HAPPY, 1923. Flapper dress- 
es call for stick-straight figures, and well 
endowed women scramble for deflating 
devices— from the Boysh Form bandeau 
to tightly wrapped ribbons— to ensure that 

their pearls fall perfectly straight from neck to hip. But 
not every woman wants to be flat as a board. Two 
dress designers, Enid Bissett and Ida Rosenthal, 
lead their own freedom movement, snipping apart 
a bandeau bra and rigging it into two separate cups 
held together by elastic. They call their invention 
the Maiden Form brassiere and. needless to say. 
stop making dresses altogether. 

invents nylon, which is strong, lightweight, and. 
best of all, doesn't need ironing. The new fabric 
also means more freedom for manufacturers, who 
stitch the pliable stuff into shapely and supportive 
bras. They fit better too, thanks to Warner's, which 
replaces vague sizes like small, average, and full, with 
a standardized A-through-D-cup system. 

sell bursts, bust first, onto the screen in The Out- 
law. The special effect of her aerodynamic, grav- 
ity-defying proportions is courtesy of How aid 
Hughes, who creates a cantilevercd metal con- 
traption for Russell's famous promo photo. 
The modem underwire is born. In ! 948 Fred- 
erick's of Hollywood picks up on the trend, 
launching its own Rising Star a padded push- 
up with foam rubber laminated onto the cups 
for added oomph. 

TWIN PEAKS, 1950. Breasts get a boost 
from new technology. Maldenform issues the 
Chansonette bra featuring concentric-circle- 
slitclicd cups that project a missile-like shape. 
Fifties' sweater girls arm themselves for ac- 
tion with seriously stacked silhouettes. Those who 
can't keep up fake it with falsies padded bra inserts that help 
bring women to peaks Mother Nature never intended. ( If all 
else fails there's always Kleenex. ) 

BURN IT, 1965. Fueled by the youthquake that shakes up 
the fashion world leaving miniskirts and 
Twiggs -thm clones in its wake Rudi Ciern- 
reich unveils his completely unstructured No 
Bra bra. "Miracle fabrics" like Lycra pro\ ide 
support without altering shape. In 1968 Vogue 
describes these revolutionary bras: "The) look 
like you, move like you. feel like you." But 
feminists propelled into action by Gloria 
Steinem and the newly formed National Or- 
ganization for Women (NOW) de- M26 

▲ Vivienne 

Westwood turns 

fashion inside 

out, literally. 

*> The bra comes 

out from under 

cover on the 

cover of Vogue. 








A; * 


mak Irra 

OUt I Ml' i 



► Madonna 

projects at the 

Cannes Film 

Festival with a 

little help from 

Jean Paul 

Gaultier's now 


conical bra. 

-4 Flat-ch M i 
waifs dor 
want (or W 
a lift 

► Baywatch 

star Pamela 


brings the 

full figure 



< Even 1 1 
Chanel ifc 
gets extl 





















Talking Style With VOGUE. 












Talking Style With VOGUE 

members receive advance notice 

of exclusive vogue events. 

Just send your name, address and 
daytime phone number to: 

VOGUE Marketing Department 

350 Madison Ave., 12th Floor 

New York, NY 10017 


lace bra 
takes front 
and center 
stage at 
Ghost's fall 

mand total freedom. Not only do i 
move their bras; they burn them. 

■*The cleavage- 
women to take 
the plunge 
once again. 


comes a national obsession, and i 
designers scramble to create a bra that can go the < 
Running fanatics Hinda Miller and Lisa 1 
women their own proverbial j 

ing two of the male versions toge 
form the prototype for the Jogbi| 

INSIDE OUT, 1982. Decic 

inhibited designers like 

Westwood and Jean Paul Gl 

turn women's wardrobes insii 

taking bustiers, garters, and ot| 

nerwear pieces out into the open. ] 

Madonna undresses for her movie 

(Desperately Seeking J 

Although critical re 

her acting is mixed 1 

lace bras send stocks i 

at companies like ] 

form. Gaultier and Ma 

continue to cash in < 


when she gives his cone bra a supp 

role in her 1 990 Blonde Ambition 1 

BOUNCING BACK, 1990. If you 

iL flaunt iL and if you don't have it.| 
So starts the nineties. Some write it. | 
a hangover from the past decade of e 
but plastic surgeons are still laug 
the way to the bank (more than 
breast augmentations are perfor 
1 992. but soon after, the silicone i 
brings the implant industry to a halt i 
step ahead of the bust designer AzzJ 
Alaia fits his models with canned cle 
(shoulder-pad-like inserts, sold in i 
ters. complete with adhesive : 
1 99 1 supermodels like Naomi Ca 

start showing up for photo shoots wearing a sixties staple called the Wonderbra, whicr| 

discover while shopping in London. 

BUSTED, 1992. The invasion of the waif temporarily deflates the bra industry. Womej 
sake their push-up bras and formfitting clothes for flannel shirts and other, equally cone 
loose lav ers. (Some sensible women avoid the grunge thing and continue to buy bras.) i 
of the times: Calvin Klein splashes billboards across the country with pictures of a braless J 
Moss hugging Marky Mark to advertise his underwear collection, which does include 
for every brief. (Guess no one told Kate. ) 

WONDERS NEVER CEASE, 1994. A British company called Gossard has quietly beer 
ducing the Wonderbra ( a push-up constructed of 54 separate parts) since 1 968. But just as it 
off. Gossard's license to produce the little wonder expires. Playtex repossesses the name, but 
sard springs hack with its own version, the Super Uplift bra. At its New York launch. - 2 I 
worth of the Super Uplift are sold in a few hours, while the "one and only Wonderbra'" dl 
pears from the racks at a rate of one every fifteen seconds. As the stakes in the bra wars \ 
er lingerie companies rush to the front lines— creating similar contraptions with equally opt 
names, like Victoria Secret's Miracle Bra and Maidenform's It Really Works. But even as I 
race to slock up on the new under armor, smart women know that it's just a matter of tim| 
fore this bosom boom— like all inflated trends— goes bust.* VOGUE'S VIEW 



*' \* 




I - —^ 

Gangster Stripe Single Breasted Blazer, $189. Menswear Trouser. $124. Brocade Vest. $89, and Retro Shirt. $78. 
For the store location nearest you, dial 800-808-BEBE 

E AUGUST 1994 






out, damned spot 

Fashion's recent white wave proved a boon for the 
dry-cleaning business. In search of a professional's 
secrets of clean, Mary Roach goes behind the 
scenes— and out to lunch— with the Sultan^f Stain 

^ o 


Thema^M > rrastmt • MFSeitz. director o( 
the Ne^^| • School '^prycleaning, which hap- 
pens to be directh upstairs from Biricchino. The rea- 
son Seitz is sa> ing "Trust me*' is that he is about to 
spatter m\ S300 sweater with balsamic vinegar. 

"Ready?" He sops a piece of bread in the bal- 
samic puddle on his plate, takes a bite, and lobs the 
remainder into my lap. 

Seitz skims the menu. Balancing the twin con- 
siderations of flavor and stain potential, he rec- 
ommends insalata misto. rigatoniallapaesana, Chi- 
anti. and cappuccino. Five classic spots in a single 
Italian meal: tomato sauce, olive oil, balsamic vine- 
gar, red wine, and coffee. After lunch, we'll go up- 
stairs and he'll show me how to get them out. Seitz 
has been removing spots for 50 years. He has 32 
dry-cleaning-industry awards on his office walls 
and a New York Times clipping that refers to him 
as the Sultan of Stains. If anyone can save this out- 
fit, Bill Seitz can. 

A waitress appears and Seitz orders. "And 
bring us the mixed sausage plate to start." Seitz 
volunteers that although the appetizer has no note- 
worthy staining properties. Biricchino sausage is 
homemade and not to be missed. 

Seitz clears his throat. "I believe in the kiss 
principle." he announces. "Do you want to 
know what that is?" 

I'm not certain I do. I once had a friend 
who harbored an unshakable conviction that 
sali\ a was the key to successful spot removal. 
"Enzymes," she'd say, leaning over and mak- 
ing a spectacle of herself. 

"KISS." says Seitz, attacking a breadstick. 
"stands for Keep It Super Simple. When con- 
fronted with a spot, the main thing to ask your- 
self is this: Is it oil based or is it water based?" 

pon oil-based spots on "fema 
[are"cWRig oils, cosmetics, and 1 
Seitz picks up a salad-oil cruet. "Cla 
le drizzles oil onto his mixed greer 
1 whites, and turns his attention to ! 

"Shouldn't I go to the rest room and try t 
some of this out?" 

"Absolutely not." gruffs Seitz. ' 
could do. Water will cause the oil to co^^^ 
try to dilute an oil-based spot with water, yod 
make it more difficult to remove." For oil-based| 
a dry solvent works best. The closest over-the 
equivalent to dry-cleaning solvent is Carbonal 

The Chianti arrives. Seitz clinks my glass, f 
ing wine over the rim and onto the table. "Hero 
gestures at the spillage. "Stick your elbow in i 

Wine is a water-based stain, as are the 1 
\inegar and the coffee yet to come. For these 1 
be mounting a three-pronged attack using si 
household staples: liquid dish detergent. vi| 
( white, not balsamic), and hydrogen peroxide! 
sees no advantage to using drugstore spot rem| 
what he calls "those exotic, expensive chemic 
you use once a year." Consumer Reports. 
review of spot removers, reached a similar ecl 
sion. "You probably don't need to buy a pr<| 
devoted solely to remoring stains." 

"So should I put salt on the wine '.'" 

"Nah. It'll just fall off. You'd need to makJ 
lution in water. I wouldn't bother." Similarly! 
rated: club soda. "Very good for one thing, and J 
club soda sales 

"Shouldn't I at least be hurrying to the I 
room to try to rinse it out?" 

Seitz shakes his head. "To flush the stal 
fectively, you'd have to take the sweater ofl 
stand at the sink in your brassiere. Nobody! 
ing to do that. What you should hurry up ai| 
is eat your sausage." 

Riming a spot helps. pro\ ided you take al 
within a day or so. After a couple of days, howl 
spots of animal or vegetable origin oils, fruit j [ 
egg, blood— can begin to oxidize (the same 








^ V 













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rofessional spot removal 
s noisier than you 
night imagine, 
md more aerobic 

process that turns apple slices brown). Once this happens, a spot is well on 
its way to becoming a stain. "It becomes more and more insoluble," says 
Seitz, "'and harder and harder to remove." 

The worst offenders are tannins. Tannins, which come from plants, are 
found in fruit juices, tomato sauces, and soy sauce, as well as alcohol and 
soft drinks, which are made from grain. The latter are among the causes 
of a sinister phenomenon known in the dry-cleaning community as In- 
visible Stains. "Gin, vodka, 7-Up. lemon juice— they're 
colorless until you throw the 
garment in the dry- 
er or take it to the 
cleaner," ex- 
plains Seitz. wip- 
ing tomato sauce 
on my knee. "The 
heat speeds up the oxidation 
process. A stain appears. Re- 
member invisible ink— a confi- 
" dant would slip you a blank piece 
of paper, and you'd run home and 
hold it over a range and words would mag- 
ically appear? Ordinary lemon juice." 

Over cups of caffeinated tannin and albumin, we discuss my odds for 
success. Seitz is optimistic. "I do a traveling spotting course where stu- 
dents bring me problem stains. On a good day, I'm able to correct 50 to 
75 percent. You're wearing white, which is in our favor. With whites, you 
can go to bleaches." 

The iffiest spots are those on colored silk, rayon, and linen. This is be- 
cause the dyes have little affinity for the fabric. "The color doesn't take 
very well." says Seitz. "It collects on the surface and rubs off when you 
try to remove the spot. This is especially true with deep, brilliant colors. 
Washable silks, you'll notice, are mostly dull colors." 

What to do? Take it to a pro. "There are some things," advises Seitz. 
"you are better off not messing with." 

The waitress brings the check tray, which bears a pair of chocolate truf- 
fles. Seitz eats his and hands the other to me. "Here, rub this somewhere." 
Until you get to the classrooms and labs, it's hard to tell that the busi- 
ness of the New York School of Drycleaning is cleaning. (Clues: the "In- 
visible Enemies of Your Draperies" pamphlets in the reception area; the 
place mats on the conference table.) 

In the Spotting Department, the class of 1 995 is confronting lipstick. 
Textbooks are open to the chapter entitled "Spotting: The Art of Stain 
Removal," the bulk of which is devoted to a four-page chart covering 1 04 
spots, including Awning Drip. Egg Nog, Meat Juices, Library Paste. 
Nose Drops. Jams & Jellies. Brandy Alexander, Corrosion, Fish Slime. 
Battery Acid, and Scorch. 

Professional spot removal is noisier than you might imagine, and more 
aerobic. The students whack poly/cotton swatches with wood-handled 
brushes. They are whacking— or tamping, to use proper terminology- 
because in dry cleaning, you do not rub. Tamping breaks up the stain with- 
out abrading the fabric. Tamping is a quick succession of 10 or 20 raps, 
a sort of heavy-handed, slowed-down drumroll. Instead of tamping with 
a spotter's brush, which amateur spotters are unlikely to have, we'll be 
using our fingers and a wad of cheesecloth conga rather than snare. 

We watch while a student named Howard douses a smearing of Revlon 
Hot Coral lipstick with solvent. Howard is a friendly guy. dressed in a 
polo shirt and jeans, which, though clean, do not appear to have been 
pressed or starched. 

Howard tamps for a while, then sets down the brush and picks up a 
pressurized nozzle called a steam gun, which professional spotters use to 
flush out their spots. Next he goes at it with a wad of cheesecloth. 
"He's rubbing," I whisper to Seitz. 
"No, he's feathering." To prevent solvent rings, a professional clean- 

er uses a cloth to make quick, light outward dabs around the perir 
the solvent area, feathering the line so that damp blends gradually intl 

The lipstick is almost gone. Howard is doing his best not to| 
at my clothing. 

"She's from Vogue, " says Seitz. Howard nods, as thouj 
somehow explains the culinary carnage on my person. 

Seitz turns to me. "OK, love, now you're gonna have to take of 
sweater." Eleven future dry cleaners look up from their spotting 1 
es. Howard loses control of his steam gun. 

Seitz ushers me to a crowded rack of clothes. "You can ; 
some of these." These are "dead garments," clothing that, for or 
son or another, never got picked up from the cleaner. 

I return from the ladies' room garbed in a dead orange-and-v 
Dacron polka-dot blouse and dead Ben Davis work pants. M> 
clothes, alive but mortally wounded, are heaped on a spotting 1 
Seitz lines up five plastic squirt bottles containing: a Carbona-I 
vent, dish detergent diluted with water, vinegar (a mild diluted ac 
dissolve tannin-type spots), hydrogen peroxide (a mild bleach), 
ter (for flushing the spot between each step). 

With this basic arsenal. Seitz says, you can safely tackle just ah 
spot on any fabric. Here's how it works: 

For oil-based spots: Just use solvent. 

For spots with both oil and water (and spots of unknown origin):| 
with solvent, then move on to the rest. 

For spots with no oil: Skip the solvent and start with water and t 
gent, then move on to the rest. 

Seitz begins with the olive oil spots. First he slides folded che 
neath the afflicted sleeve to absorb the stains as they dissolve. (White ] 
towels also work.) Then he squirts on solvent— enough to cover the sf 
tamps, blots, flushes with solvent, and feathers. That's it. Stain vanqu 

Next up. water-based spots: balsamic vinegar, coffee, and i 
From the top: water, detergent, tamp, flush with w ater. Rept 
needed. Feather. 

The tomato sauce and chocolate are combination stains (choJ 
contains cocoa butter), so the procedure goes like this: solvent. 1 1 
flush with solvent, feather, allow to dry. Water, detergent, tamp, 
with water. Vinegar, tamp, flush with water. Peroxide, leave it a few j 
utes. flush with water. Feather, step back, gloat. 

Seitz glances at the it's time to dryclean clock on the far w allj 
whole process has taken just under four minutes. 

But Seitz isn't done yet. Traces of balsamic vinegar and red wir 
still in evidence on the cashmere. Wool is troublesome becaus| 
porous; the stains sink into the core of the fiber. With synthetics, 
stay on the fiber's surface. If I'd worn the polka-dot shirt to lur 
would now— aside from the indelible blot on my pride-be stain-l 
"Except for olive oil," says Seitz. "Oil has an affinity for polyester. ( 
it gets in, it's hard to get out." 

Seitz demonstrates an advanced spot-removal technique: bleacl 
He uses Clorox diluted 50 to 1 but recommends that home spotters 
to a safety bleach, such as Snowy or Clorox 2. He follow s up w ith 
gar to neutralize the bleach and keep it from yellowing the fabric. 

Back at home. I experiment. I pit the New York School of Dryc 
ing method against the three highest-rated commercial spot removt 
the Consumer Reports article: Dr. Zap. Dev-Tec Stainarator. and Sai 
Oxgall. The spots are ink. mustard, and vegetable oil on white ribbec 
ton. All four methods remove the oil, but with the mustard and ink 
Seitz technique clearly prevails. The ink surrendered completely, the 
tard nearly so. When used according to directions (no tamping invol 
the commercial products did remarkably little to either. 

As for the N. Peal sweater and the DKNY pants, it's as though I 
never happened. There's a faint ghost of the Chianti on the sweater sl< 
but you'd need a keen eye to find it. As far as I'm concerned, it's 
free, and I'd wear it anywhere. Even to an Italian restaurant. • 












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The goal in designing the Toyota Camry 
Coupe was to make it less than its four-door 
sibling in only one respect: the number of 
doors. According to automotive experts, it not 
only achieved this goal, but it more than lives 
up to the reputation for quality and reliability 
that helped make the Camry Sedan one of 
the best-selling cars in America. 

From its generous leg and head room 
the sophisticated appointments of its interic 
to the gold-tipped terminals of its dual air bad 
system,** no detail was considered too small 
when it came to making the Camry Coupe 
the ideal personal driving environment. 
"The people packaging is excellent" 

Automobile Magazine. January 11 

The New Camry Coupe.] 
Judging From The ~ 
Less Can Be More. 


"Its all-over quality surpasses the workman- 
ship of most cars and equals that of some 
much more expensive ones." 

Car and Driver, February 1994 

One reason the Camry Coupe feels so 
comfortable and luxurious is quiet. "Silence 
is Golden" seems to have been the engineers' 
rallying cry. 

"The Camry Coupe's V6 aluminum engine* 
whispers. It starts quiet and stays quiet" 

Chicago Tribune, January 2, 1994 

Ultimately though, the most important 
review is the buyer's. And that's why the 
Camry Coupe was designed to be the best it 
could possibly be. No more, no less. 
"The coupe has all the virtues that prompt- 
ed us in July 1993 to name the Camry 
four-door the best family sedan in America." 

Car and Driver, February 199**] 

You can also get more information for 
less by calling 1-800-GO-TOYOTA for a 
brochure and location of your nearest dealer. 

® TOYOTA Camry Coupe 

"I love what you do for me" 

r i 

' \vailable \ t< engine always use your SMtbehs Driver- and i .nr bap> are a Supplemental Roiraint v ' ucklc Upl Do il far those who low you 019*4 I 


fine, song, and 
ht-wing humor 

ee new films serve up a feasting 

Taiwanese family on the mend, 

synching Australian drag queens 

* road, and Republican bachelors 

jjthe make in anti-American Spain. 

John Powers deciphers 

these foreign affairs 

f you were custom-building a movie to 

win the Oscar for Best Foreign Film, 

you'd make the main character an old 

\ (the Academy members who vote in this 

gory are legendary for their advanced 

s), lace your story with nostalgia for pret- 

oung women (ah, sweet bird of youth), 

fill the screen with people feasting on 

ilous food (sex is controversial, but every- 

y loves to eat). You would, in short, make 

Drink Man Woman, a graceful, touch- 
somewhat manipulative Taiwanese dra- 

:hat could well become the most popu- 

^hinese movie ever to hit American the- 

s. It plays like a special Father's Day 

ode of Tlie Joy Luck Club. 

et in Taipei, the story centers on a 

,ty, control-freak master chef, Mr. Chu (Sihung Lung), for whom 

king is a way of fending off intimacy with his three daughters, 
still live with him in the family house. The eldest daughter, Jia- 

(Kuei-Mei Yang), is a spinsterish Christian schoolteacher, seem- 

y devoted to her father's care yet secretly hoping for a lover to 

ler free. Jia-Ning (Yu-Wen Wang), the youngest, is a perky, love- 

ck counterperson at a Western-style fast-food restaurant. Both 
it easier than does their headstrong sister Jia-Chien (Chien- 
Wu), a high-powered airline executive who's both the apple of 

father's eye (she's inherited his genius with a wok) and the child 

whom his love is the most contorted. Hushed with yearning for 
r lost emotional closeness, Jia-Chien and old Chu coexist in a 
of perpetual prickliness about everything from her real estate 
stments to the saltiness of his ham broth. As one of the daugh- 
says ruefully of the family, "We communicate by eating." 
Tie search for generational reconciliation is familiar terrain for 
ctor Ang Lee, who made last year's hit comedy The Wedding 
quet, a bright, ungainly farce about a gay Taiwanese who stages 
ke marriage to save face with his parents. Aside from a satiri- 
y drawn shrew who sets her cap for Mr. Chu, there's little overt 
iedy in this new movie, which exchanges rowdy laughs for a far 
iter expansiveness: Each daughter embodies one facet of a cul- 
: that's surging wildly forward, just like the swarms of motor- 
:s whose restless, apparently chaotic motion becomes one of 
's defining images of Taiwanese modernization. Yet for all its 

.UE AUGUST 1994 

timely snapshots of 1990s 
Taipei, this family yarn is 
ultimately concerned with 
life's timeless elements: 
birth and death, flesh and 
spirit, sex and food. Es- 
pecially food. You'd do 
well to dine before watch- 
ing Eat Drink Man Woman, as Lee shapes the action around the in- 
cessant, ritualistic rhythms of Chu and his daughters ladling soup 
stock, folding gingered pork into potstickers, dropping freshly fil- 
leted sea bass into sizzling oil. The camera raptly watches the prepa- 
ration of more than 100 dishes, from simple rice pancakes to steamed 
deer in a pumpkin pot. Although this fetishistic treatment of food 
carries a slight whiff of commercial calculation— culinary hedonism 
has already made art-house hits of Tampopo, Babette 's Feast, and 
Like Water for Chocolate— Lee uses these scenes to make his key 
point. Eat Drink Man Woman suggests that cooking, when done lov- 
ingly and with respect for time-honored recipes, can become a 
metaphor for the well-lived life. 

Lee is an old-fashioned filmmaker, in both his celebration of fam- 
ily ties (the movie's final words are father and daughter) and his mild 
skepticism about independent women: Revealingly, it's the sexual- 
ly free, seemingly self-reliant Jia-Chien who ultimately proves the 
most traditional, the most in need of patriarchal blessing; her ►! 40 



exquisite features heavy with regret, she has a wistfulness about the 
past that rivals her father's. This conservatism meshes perfectly with 
Lee's filmmaking style, whose burnished emotional simplicity is 
equal parts Chinese reticence and Hollywood slickness. Gazing on 
its characters with utmost tenderness, Eat Drink Man Woman puts 
across sentimental scenes with a tact rare in today's movies; you 
won't feel ashamed or violated if your eyes fill with tears. Lee has 
become a master of sly wish fulfillment, and it's a precise measure 
of his strengths and limitations to say that he could teach the peo- 
ple at Disney a thing or two. 

The publicity for The Adventures of Priscilla, Queen of the 

Desert labels it a "musical comedy road movie with a difference," 
which is a discreet way of saying that its main characters are gay and 
its plot the wispiest of contrivances. Three Sydney showgirls— two 
transvestites and a transsexual— buy a ramshackle bus dubbed Priscil- 
la and speed through the desert to a nightclub gig in Alice Springs. 
Although they're soon stranded in the outback with beaming abo- 
rigines and leather-faced yokels for whom martians would be less 
alien than cross-dressers, Priscilla cares less about capturing local 
color than about showing off the goofy comic interplay among its 
three leads: bitchy scene queen Felicia (Guy Pearce), who worships 
ABBA and can't shut up; the likably confused Mitzi (Hugo Weav- 
ing), who worries about having to meet his ex-wife and small son in 
Alice Springs; and Bernadette, a mordant transsexual played by re- 
gal, gray-tressed Terence Stamp, whose ravaged, pale-eyed hand- 
someness doesn't quite translate into ravaged, pale-eyed beauty. 
This odd trio spend their journey bickering, swapping one-liners of 
the "cock in a frock on a rock" variety, and polishing their lip- 
synched stage show: Bedecked with glittering lipstick and costumes 
gaudy enough to blind the interior decorator at Graceland, they 
keep breaking into exuberant, disco-tinged musical numbers that 
viewers are encouraged to sing along with. 

Priscilla was written and directed by Stephan Elliott, one of the 
new wave of Australian directors led by Baz Luhrmann, whose Strict- 
ly Ballroom taught his countrymen how shameless corniness can 
turn a naive, low-budget movie into an international hit. Even less 
polished than Luhrmann, Elliott seems to think that every shot of a 
drag queen is screamingly funny and becomes even more uproari- 
ous when followed by a reaction shot of rednecks (and their dogs!) 
gawking at platform shoes and feather boas. His style is so crude 
that in the middle of a movie celebrating tolerance, we're given a 
mirthlessly cruel caricature of an Asian prostitute who speaks in 
half-witted pidgin and leers delightedly as she does a live sex show. 
Faced with such vulgarity, even Pedro Almodovar, the reigning king 
of funky, irreverent, gender-bending comedy, would shudder at El- 
liott's down-market approach to gay sensibility. 

Yet just as Speed was designed to be actor-proof— its real star is 
that careering, dynamite-laden bus— so this movie's kitschy high spir- 
its can't be wholly muffled by Elliott's coarseness. I suspect that many 
viewers find something liberating in Priscilla'?, primitivism, which ab- 
solves us from thinking about grim issues that might be raised by a 
better-made film. Elliott has made one of the rare gay movies of the 
last decade that isn't darkened by the long shadow of AIDS; nor does 
he treat drag queens as tragic saints, like the doom-riddled voguers 
in Paris Is Burning or pathetic, love-struck Jaye Davidson in The Cry- 
ing Game. Mitzi, Felicia, and Bernadette do, of course, encounter 
homophobia in the outback (their bus is spray-painted with vicious 
graffiti), but the film's gay-bashing louts ultimately have no more ef- 
fect than the bugs that fly into Priscilla's windshield. For Elliott's real 
subject is not hatred but happiness— the campy, irresponsible joy of 
"girls" strutting their stuff in huge, flamboyantly hued floral hats that 
resemble psychedelic Mickey Mouse ears, or Felicia standing atop 

the speeding bus, her gargantuan orange scarf fluttering for a j 
30 yards in her wake, like a streamer from a wedding on Mount < 
pus. Amiable and slovenly, Priscilla is designed to be a lark, and \ 
Mitzi discovers that his young son is utterly unfazed by his i 
ing a drag queen, it becomes nothing less than a sentimental j 
dream about a saner and more generous world than our o 
Stephan Elliott's own private Australia. 

In the jokey, uneven Barcelona, Whit Stillman tips his hat I 
ghosts of Mark Twain and Henry James; it's a comedy abouj 
conflict between American innocence and the worldly wiles o' 
rope. The scene is Catalonia near the end of the cold war. Th 
roes are two chic American cousins, both posted to Barcelona. | 
share little but their belief in the star-spangled genius of the i 
can way. Ted's a pensive little hedgehog of a businessman who ml 
Death of a Salesman and reveres the wisdom of Dale Carnegie I 
sponging Fred is a whiny naval officer who, like most annoying J 
pie, is easily annoyed— especially by talk of American fascism. ! 
bling day and night, the two wander through party-mad Barcel 
constantly playing out the customary culture-clash silliness, 
decadent Spaniards polish their contempt for New World < 
ty, while the openhearted Yanks reply that those in the Old 
have never tasted a proper hamburger. By the time this byplay 1 
on an ugly political edge, the cousins are already entangled wit 
women: Montserrat (Tushka Bergen), a Michelle Pfeifferish i^ 
preter who lives with a left-wing fashion expert, and Marta. a 
spoiled, coke-sniffing party girl played by the gifted young i 
can actress Mira Sorvino. 

Stillman is a rarity in today's movies, a writer-director who i 
his right-wing politics on his sleeve. (When was the last time yc 
a film whose hero keeps a copy of the Bible under The Econon 
In fact, one of this writer-director's great virtues is his eagerne 
expand the range of acceptable movie characters. His debut, 
ropolitan, was a chamber piece about young Park Avenue sex. 
Barcelona may be the only American movie of recent year 
pict salesmen and men in uniform without taking cheap, 
swipes at big business, the military, and the U.S. governmentj 
precisely because we so seldom see middle-class true belie-. 
Ted and Fred that I kept hoping the movie would reveal what mj 
them tick. But both male leads are stiff and inexpressive, and ! 
man himself seems uneasy with the more serious implications o| 
material; he keeps fleeing into the kind of glib, literate jokine 
sociated with liberal filmmakers like Woody Allen. When or 
major characters is gunned down, we expect Barcelona fina 
take on a richer emotional coloration. Stillman merely flirts 
this possibility and then retreats to safety; the victim's wounded tl 
has barely reached the hospital before we're hit with pointless!) 1 1 
gags about the length of War and Peace. 

To be fair, turning emotion into brainy patter is a key to ! 
man's distinctive, often witty, cinematic voice; but here, any 
that voice is too coy and bloodless to make us believe in the con 
romantic experience. Shortly after Fred's arrival in Barcelona^ 
solemnly declares that he plans to shun physical beauty in sea 
ing for his ideal woman; he promptly scuttles the idea when he | 
for Montserrat. Stillman may want us to chuckle at Teds la 
self-awareness, but our laughter would come easier ifBarceh 
tained a single three-dimensional female character. Perhaps! 
overlooking some dazzling transatlantic sexual irony, but the w 
movie seems steeped in unexamined male fantasy. I keep wonj 
ing, Why would all these supposedly smart, great-looking, sop! 
cated women give a second thought to Ted and Fred, grown i 
who quibble and drone like a pair of high school debaters' 1 * 




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The violent childhood 

of Deedee, left, is reflected 

in her art, above. 

"9. 1 

tales of insanity 

Oscar-winning documentarian Allie Light found it easy to win 
the trust of her subjects for Dialogues with Madwomen. 
As Sean Elder finds out, she'd been institutionalized herself 

Near the end of Allie Light's documentary Dialogues with / | 
women, one of the women of the title makes an extraordinary ( 
fession. Hannah— whose delusions include marrying Bob Dj I 
and somehow saving the world— is talking about the successful treatmJ 
she is receiving with lithium and the regret she feels at losing some of l| 
hallucinations. "The thing that's hard about this is that I do believe in th<| 
nonordinary realities," she says. "Something is trying to emerge. It fe 
so intensely alive, which is why it's hard to give up." 

The idea that there's something enjoyable about these altered state | 
not much discussed outside mental-health circles, and it is just one of ma 
revelations found in this remarkable film, which shared the Freedor 
Expression award at this year's Sundance Film Festival and airs on PBl 
P.O. V. August 2 at 10:00 p.m. (check local listings). Director Light (wll 
along with her husband and collaborator. Irving Saraf, won an Acadei| 
Award for the 1 99 1 documentary In the Shadow of the Stars) allows 1 
seven subjects to turn their cards over, giving us glimpses of pasts fil 
with despair and hospitalization. 

Besides Hannah, there is Mairi, whose multiple personalities wani| 
to exchange presents one Christmas; Karen, a Chinese-American w he 
the seventies belonged to a Marxist-Leninist organization before berl 
misdiagnosed as schizophrenic and then later became unemployable; JJ 
san, whose mother had been institutionalized and whose stepfather rap 
her ("He did things I still need to . . . unravel"); R. B.. a young black won 
who. after being raped, went from studying at Stanford Univcrsit} I 
dancing naked in the woods and sleeping in an airport restroom; aj 
Deedee, who was told by a therapist that her problem was that she didif 
sleep with men. 

There is also a frizzy-haired white woman in her fifties who had had hi 
self committed at age 28 when she could not overcome her depression; s| 
tells the story of being in an institution in November 1963, when a felk| 
patient ran past her clutching a phone receiver ripped from the wall ; 
screaming, "The president's been shot; the president's dead!" Her dc 
counseled her, "Don't pay any attention to him." This woman, it later! 
comes clear, is Allie Light. 

It is these women's stories— by turns painful, hilarious, and horrif\ inj. 
that make up the majority of Dialogues, whose scope encompasses qudj 
tions of creation (at a little girl's first Communion) and eternity (followii 
the death of one of the subjects). As ambitious as it is. the film doc- 
claim to be the last word in women and madness, and the lives laid ba 
arc all peculiar to a place and time (postsixties California). 

Nor is the movie all talk; what raises Dialogues above more prosaic < 
umentaries is that Light poetically intersperses her subjects' stories wi 
archival footage and reenactments. giving vision to their dramas and del 
sions. For instance. Light returned to the airport restroom to film R. 
sleeping there; and she took Susan to an abandoned mental hospital i 
had her reenact her rage at being locked up. One of the more painfully ( 
did dramatizations is the director's own memory of being molested i 
child, with her adult son playing the role of the pedophile. (Casting him 
the scene. Light says, "gave me a sense of control." ) 

But the words are the hardest part, and extracting them was difl 
"When you listen to women on Oprah. " Light says, "and I think she 
a wonderful interviewer, what you get is an emotional sound bite. B 
you never know what those women thought about what had hap- ►!• 

Susan, left, was hospitalized 
at age fifteen for repeatedly 
harming herself, above. 

Hannah, left, and wearing 
a mask, above, was obsessed 
with Bob Dylan. 

Karen, left, and as a child, above, 
Light's friend and associate 
producer who was later murdered 



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some rather imaginative wedding night tips. Afterwards, he 
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How refreshingly distinctive. 

led to them, or if they can analyze it .... In 
\bgues 1 really wanted people to know that 
men can define themselves, that we have 
capacity to understand intellectually what 
, happened to us." 

Watching the interviews can be disquieting, 
: sitting in on someone's intense therapy, 
also riveting and revelatory. The women's 
ries reflect upheavals of the last 30 years, 
! effect of the women's movement and 
inges in psychiatric diagnosis and treatment, 
is is not an exercise in shrink bashing; for 
•ry locked-ward horror story, there is a tale 
i caring, compassionate therapist. "Some 
re saved," says Light. "It's just that people 
remember the horror stories." Her husband 
ejects, "I always say the batting average of 
iing a good therapist is probably the same 
finding a good mechanic— except the con- 
luences are much worse." 
Light and Saraf are sitting in the living room 
heir San Francisco home, a purple Victori- 
nestled between rows of faceless condo- 
niums. The walls are covered with stills and 
morabilia from the eight films they have done 
ether; their Oscars stand on either end of the 
ntel as unimposing as thrift-store relics. Saraf, 
o coproduced Dialogues and has made more 
n 100 documentaries, speaks in a gruff Pol- 
accent, while Light at times can hardly be 
ird; her manner is in sharp contrast to her 
a's passionate, sometimes violent images. 
Light's journey from depressed housewife 
Oscar-winning filmmaker is as remarkable 
my in the film— and the stories include inci- 
lts of child abuse, multiple personalities. hand- 
Is, rape, suicide attempts, and even murder, 
iidn't know what caused the depression, and 
lybe still don't," she says today. "There's al- 
ffys this weighing of whether it's metabolic and 
:mical or just my life situation. But I know I 
s pretty much a typical woman of the fifties. 
ayed at home, took care of the kids, and my 
band went out and had his adventures every 
i. At 28, 1 really thought that was the way my 
was going to be, and it was over, essentially, 
d that caused a lot of my depression." 
She had met and married her first husband, 
arles (Chas) Hilder, in the 1950s. He was 
effervescent personality, light to her dark- 
is; his love of opera years later would spur 
to make In the Shadow of the Stars, about 
msters in the San Francisco Opera. But as 
der pursued his dream to be a singer, his 
lily lived in near poverty in a housing pro- 
t; for Light, who had grown up in the pro- 
ts when her communist father worked as a 
)builder, the deja vu proved overwhelming. 
she recounted in the book On Women Turn- 
Fifty (Harper San Francisco), by Cathleen 
untree, "I felt I was repeating the life of my 
»ther and her mother." 
On the advice of a therapist, Light admitted 

herself to the psych ward at San Francisco Gen- 
eral, where she had the first of several disastrous 
encounters with psychiatrists. As Light recounts 
in the movie, after having her undress, the ad- 
mitting doctor stood behind her. "Suddenly he 
asked me if I liked to kiss my husband's penis," 
she recalls, and even in her confused state, she 
knew there was no right answer: "No would 
mean I was not a sexual person — Yes would 
mean that I was bad. . . . For 25 years I've won- 
dered why he asked me that." 

When she was released from the day ward, 
a doctor gave her homework assignments: Go 
home and cook a turkey for your family, he ad- 
vised. Then try mopping the floors. When she 
protested that she wanted to go to school, he 
told her not to "waste everybody's time." 

Light emerged from the hospital only to re- 
turn a couple of years later, after Hilder died 
of lymphoma. "Not only did I love him, but I 
identified with him," she says. "I was a shier, 
more introverted person, and I think I lived 
through him. When he died, I felt that I had 
died." In the hospital, every time she cried she 
was given Thorazine. "I was doing what was 
appropriate," she says. "Didn't they realize 
that's how you heal 9 "' 

She found another way to heal over the 
years, telling her story to friends and students 
(she taught for ten years in the Women's Stud- 


ies program at San Francisco State Universi- 
ty). Her openness— and the fact that she was 
the film's first interviewee— helped her win the 
trust of her subjects. The second person she 
filmed was her friend Karen Wong, who also 
would serve as the movie's associate produc- 
er; but in February 1 99 1 Wong was raped and 
murdered in her apartment; Light would not 
film again for a year. "The way I finally solved 
it," she says, "was that I sat down and looked 
at all of her tape without the sound, to get used 
to seeing her again, and just cried and cried. 
Once I could do that, then I could turn on the 
sound, and then we could edit." 

In the film, Wong's death is relayed with 
potent images— nights filled with rain after a 
long drought, a grave covered with flowers. 
And if there's a message in Light's image of 
madness, it is that emotions need symbols and 
expression. "At a very early age, I learned that 
things stood for other things," she says in the 
film. "You can either go mad or learn about 
metaphor." Her film ends with an image of 
one of the "madwomen," Deedee, walking into 
the ocean fully clothed, toting a suitcase. For 
Deedee, the fantasy was becoming a fish, but 
for Light it was a metaphor for plunging into 
the unconscious and taking something with 
you— a change of clothes, a toothbrush— know- 
ing you'll return. • VOGUE ARTS M46 

lie moved away from 



the table, placed his brush down 

the tray of pigments, and wondered. 

It must be a creature so fantastic, so 

vivid that it could crawl off the paper and remain 

forever in the dreams of all who read the manuscript. 

As the echo of ancient chants drifted in through the window, 

his eyes widened, and a faint smile crept on to his face. He moved 

the brush toward the well of deepest black, and began. 

The Fantastic-Animal Pin. Adapted from a 12th-century Spanish illuminated manuscript illustration. In 24 kt. 
gold electroplate decorated with black enamel, this creature springs to life on page 47 of The Metropolitan Museum 
of Art Holiday Catalogue. Two-year subscription: $2. 

To order your copy call 1-800-468-7386 and ask for catalogue 1304. 

The Metropolitan Museum of Art 

1994 Holiday Gift Catalogue 



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Exile no more: 
Phair with her 
Fender guitar 




Liz Phair's brash, bl^irtC and sexually explicit debut ^Ibjum made 

her a critic's darling— and a figure of controversy. 

Moira McCormick visits Phair as she records her follow-up, 

combats her stage fright, and prepares to transcend cult status 

On a balmy April Sunday in Chicago, which happens to be her 
twenty-seventh birthday, Liz Phair is holed up in an amiably clut- 
tered recording studio, laying down the final track for her as-yet- 
untitled second album. Swaying slightly, she plucks at her Fender guitar, 
and an alluring, foreboding chord progression fills the snug control room 
as she softly sings. 

Skywriting with the sweep of a flashlight, I'm driving over that way 
Phair's song is called "Alice Springs," and in it she steers her car through 
a humid summer night, windows open and breeze wafting in. caught up 
in a wordless yearning for mystery and excitement. Spying klieg lights in 
the sky. she investigates their source: Some pot of gold -it 'sjust a carpet- 
ing store on opening day — 

Phair. a five-foot-two svelte woman in navy pants and ivory vintage 
blouse, dark-blond hair cheerfully uncombed, and aquamarine eyes un- 
touched by makeup, is a little edgj "I tensed up toward the end." she 
tells her coproducer/drummer. Brad Wood, after one flubbed take— 
and who can blame her? She is feeling the pressure of following up one 
of the most critically acclaimed recordings of 1 993. Exile in Guyville; it 
was voted album of the year by Vie I Wage I bice and Spin, while Rolling 
Stone named Phair best new female artist. Not bad for someone who 


until fairly recently hadn't ; 
tention of becoming a perfor 
Yet since Guyville, on the si 
Matador label, sold onh 20< 
copies, most of Americ. | 
no idea who Liz Phair is. 

That won't last. Phair is i 
among her women-who-rocli 
leagues, shunning the humoi) 
man-hating axis of riot-grrrll 
as surely as she rejects th.l 
ether-dwelling, confc I 
folkiehood. She is neither a w| 
sexual penitent like Sinead O' 1 
nor. nor a kohl-eyed tough cl 
ie like Chrissie Hynde, nor a j 
ile. trembling forest nymph 
Tori Amos, nor just one ol 
guys like the Breeders' Kiml 
Kelley Deal— and certainly r| 
self-obsessed cartoon like Ma 
na, with whom she's been i 
sionally compared, presuml 
for her sexual forthrightnessl 
Her essence is exemplifiel 
Guyville, an audacious doubl 
bum whose structure deliberi 
mirrored that of the Rol| 
Stones' 1 972 classic Exile on i 
Street. It's a startling blai! 
stripped-down, unpolished, I 
oughly addictive guitar pej 
state-of-the-heart report on 1 
sex, and life from an above ; I 
age, disarmingly honest AmerJ 
girl. Its eighteen songs, intersn 
ing rock numbers and subcl 
solo ruminations, seethe \| 
rough-edged, tuneful vital 
Phair's dogged refusal (she [ 
it's inability) to fashion a melj 
in the conventional verse-chc 
bridge mode makes for intr 
ingly off-kilter song structures. Also surprising is her voice, an untraij 
deadpan alto that unapologetically strains for low notes just outsic 
range, yet is capable of honeyed soprano trills whenever she feels| 
goofing on the stereotypical girl-singer conception. 

But it's Phair's words that have gotten the most attention. Likl 
rock artist before her, she captures the complex, contradictory nal 
of a brainy young woman in love with an emotionally unavailable rl 
From song to song, Phair's persona vacillates between invincible! 
hurt, pissed-off and pleading-just like women in real life. "We all| 
contradictions." she says. 

Because of her sexual bluntness. virtually unprecedented for a wf 
female nonpunk rocker. Phair has become a figure of controversy, 
ously labeled, she says, a "whorish ball-buster psychobitch." 
ten sellout," and a rampaging feminist firebrand. Guyville' s most nl 
rious track. "Flower.'' detailed the singer's lubricious fantasies in ncl 
certain terms: "I want to fuck you like a dog .... I want to be your blow j 
queen." Such sentiments and songs like "Fuck and Run." about ml 
ing-after regret put reviewers (who are. after all. predominantly rrl 
in a tizzy. (One went so far as to call her a "Freudian wet dream." wl 
ever that means. ) Many critics just didn't get it. mistakenly inter- l| 



ble at Neiman Marcus selected stores only. To receive a free brochure, 
s write Trisha, Bally, One Bally Place, New Rochelle, NY 10801 





preting Guyville % major theme as a struggle between love and carnality. 
Phair doesn't see it that way. "All of my friends my whole life have had 
these feelings," she says. "That's what we talk about. It shouldn't be so 
mysterious or freaky or unsettling." 

What none of the critics deciphered, Phair reveals, is that the songs 
on Guyville addressed "a specific person that I had an undefined rela- 
tionship with.'* While scrutinizing Exile on Main Street, she realized Mick 
Jagger's lyrics reminded her of "'things my 'love object' would say. So I 
compiled songs to answer him." Doing so was ultimately as therapeutic 
as it was artistic. "Mick became the man 
in my relationship, the explanation for 
all his actions," she says. "Making my 
album helped me define my relationship 
with this person— and that was all I need- 
ed. It didn't get me what I thought I 
wanted, but it gave me peace of mind." 
And now, Phair says, "I wouldn't for all the world ever be with him." 

In fact, she's been immersed in a stable, mutually starry-eyed rela- 
tionship for more than a year with her video-editor boyfriend, with whom 
she shares a second-floor carriage house in Chicago's Bucktown area— 
her first cohabiting arrangement, Phair notes. "Living there with him 
[and his fourteen-year-old son] is what keeps me sane, normal, and not 
into celebrity bullshit," she says, adding that she shortened her spring tour 
by a week to spend more time at home: "I'm making sure I have a life 
here that's more important than my job." 

Phair spent her childhood in Cincinnati, with her adoptive parents 
John (now a prominent AIDS researcher) and Nancy (who currently 
teaches museology at Chicago's Art Institute), and an older brother, also 
adopted. The Phairs moved to Chicago in 1976, settling in the affluent 
North Shore suburb of Winnetka. An imaginative, creative kid, Phair 
showed a flair for visual art at an early age. She majored in the subject at 
Oberlin College, hoping to "open up a new way of looking at visual art. 
And then— wacky!— it turned out to be music." 

The Stones had been only one of her favorite bands growing up. "It 
changed all the time," she remembers. "I loved Elton John, the Kinks. 
ELO— I loved everybody." Actually, it wasn't so much performers that 
captivated her as songs. Not just pop songs; her songwriting was shaped 
by everything from the lullabies her mother sang to her to the rounds and 
folk airs she warbled year after year at summer camp in Minnesota (along- 
side fellow camper Julia Roberts: "We used to sneak out of our cabin at 
night." Phair says. "'She taught me how to sunbathe with baby oil"). 

Though Phair had been making up tunes on piano and guitar since 
grade school, she'd never considered herself a songwriter. Even once she 
started, "no one knew I wrote songs, because I was too embarrassed to 
play them for anyone." She did go through a period of dating rock mu- 
sicians at Oberlin; "I spent some time in the band-wife pit," she says wry- 
ly, "but I never ever once looked up there and pictured myself onstage. I 
never thought about doing anything with my music." 

Finally, in December 1990, while living in a San Francisco loft after 
graduation— "hanging out, having parties, and blowing through my sav- 
ings"— Phair was persuaded by a visiting musician friend to make a tape 
of some of her songs. After moving back home to Winnetka in January 
"to regain structure from my parents, by osmosis," she gave it a shot. 

Sitting in her girlhood bedroom with its periwinkle Laura Ashley wall- 
paper, surrounded by her books, art supplies, and stuffed animals. Phair 
recorded a cassetteful of tunes— just her voice and an electric guitar— and 
christened it Girly Sound Soon it and two more tapes had been shared 
and duplicated by many musicians and critics in the East Coast under- 
ground scene. Phair moved to the artsy Wicker Park neighborhood, 
briefly affiliating herself with a local scenester who considered her his pro- 
tegee, but the partnership was doomed. "He wanted to produce me nd- 
nerable, kind of wistful." she says, "and I wanted to rock." 

By May of 1992, Phair had signed with Matador, which proffered a 

"You can trap yourself in 

sackcloth as easily as you 

can in a corset" 

meager (but welcome) S2.500 advance. "I'd been selling my art | 
charcoal sketches] month by month." Phair says. "Never knew \ 
have money, eating beans all the time— it sucked, sucked, sucked, 
a far cry from her cushy upbringing, but Phair was obstinate abo| 
getting a "nine-to-five— I wanted to be paid for my art." 

Now she's achieved that, but she suddenly has external exj 
to live up to. So, in January, she cut off contact with her label anc 
and slipped away to the Michigan shore to write in solitude. Whl 
returned with was, she says, "a natural extension of Gu\ ville— gir| 

in the truest sense. It's still boy-| 
I'm still wanting love all through 
I'm not as tortured." 

While Guyville told a story. Pi 
new effort is more a gallery of viviJ 
sorted pictures, ranging from m<| 
saw-toothed rockers like "X-Ray ! 
to a dreamy, country-flavored ballad called "Nashville": her sonf 
and singing are more accomplished, her band is tighter, and her < 
matter is more varied. She's thinking of calling \\Jump Rope Son 
says, because "you could literally jump rope to it. [Several] songs 1 
repeated line, over and over, which is something new for me." She I 
this "jump-rope groove" signifies "my holding on to the girlhood } 
musical origins," as well as a desire to "give these songs some floatl 
As opposed to Guyville, where I felt you had to pay attention to eve{ 
gle moment, the repeated lines here give you mental space. 

Throughout. Phair delivers characteristically unblinking ex 
tions of romance's vicissitudes. In the lacerating war cry "JealoJ 
the singer's gone slightly crackers, rifling through her boyfriend's < 
ers and fuming over pictures of ex-girlfriends: "I can't believe yoJ 
a life before me." Its flip side is the sheer sensual exuberance of[ 
pernova," a giddy hormonal paean to her sweetheart's prowess, ! 
with Phairs vibrantly randy imagery ("You're ... a giant flying frl 
blast"). A curious motif running through the album is gender rev 1 
as in the sardonic "May Queen," about a narcissistic heterosexual 
"It just came out that way," Phair muses. "Maybe because I've bd 
a serious relationship for a year: Once you get past the superficia 
girl things, you're involved with each other as people. You lose J 
boundaries in a weird sort of way.'' 

Phair clearly loves men, even as she lambastes them for their covval 
and self-centeredness. So it's perplexing that many militant feminisj 
gard Phair as one of their own. She's resigned to this but gets riled x 
the hard-liners belittle her for expressing vulnerability. "You should 
er lie to yourself about what it feels like to be a woman," she says, 
sharply. "You can trap yourself in sackcloth as easfly as you can in a co^ 

If Phair herself feels confined by any aspect of her newfound < 
is the necessity of performing live. Confident and assertive on recor 
in person, she suffers from debilitating stage fright, "the kind where j 
so scared you can't really see." During her first tour, this, coupled \ 
three-piece band's lack of experience playing together, resulted in a i 
ber of decidedly unfavorable live reviews, which naturally depre 
"The only thing we can do is keep playing till we get better." And, inl 
the notices have been steadily improving. "But I'm not willing to g<[ 
on the road for months at a time. That's for the perpetual teenagersJ 
Phair's greatest strength could very well be the fact that she nj 
bought into the conventional rock 'n* roll mythos. "My identity i 
largely divorced from rock." she says. "This is a really good opp 
nity to do something with my twenties, when I know a lot of frid 
who are floundering. But I had a lot of self-worth before I got tol 
sic. I liked my life. I don't think I was a loner. I don't think rock 'sal 
me." Instead, she has a democratic view. "My whole thing was, 'II 
a college kid who wrote songs, and you can too. ' Some day anothal 
will say. ' I can do that.' and it won't be because she saw a boy up thej 
but because she saw me."» VOGUE ARTS l 









Gender bending: 
Photographs of 
"Jake," center, a 
"Chicken," near 
female subjects 
Catherine Opie's 
Being and Havin 
series, 1991 

body of evidence 

The female form has always been a favored subject of artisl 
usually male. But now women have taken control, 
transforming their own bodies into tools to create art of angi 
wit, and even grotesque beauty. Roberta Smith looks 
at the connection between flesh and fantasy 

Body language: An early image, top, 

from Hannah Wilke's S.O.S. 

Starif ication Object series, 1974, in 

which she spoofs sensuality with 

chewing gum. above, center: Wilke's last 

self-portraits, July 26, 1992/February 

19, 1992. #4; and above, February 19, 

1992. #6; all from her Intra-Venus series 

documenting her battle with cancer. 

Renee Cox's Yo Mama, above, a 1993 
self-portrait with her two-year-old son 



We are making it out of ourselves," Barnett 
man said more than 40 years ago, in refe | 
to his crowd—the brilliant and mostly i 
eration of Abstract Expressionists who put postwar I 
ican painting on the map. Fittingly, this declaration i 
dependence from European art has always had a i 
oneering ring, an aura of aesthetic land clearing, log i 
and barn raising. 

Not any more. Today Newman's boast applies as < 
to women artists, many of whom are infusing it with i 
explicit, often shocking, force and meaning. In the H 
is women, more than men. who are "making it" out off 
selves, quite literally creating a new art of the self, 
these women use the female body, the container oft 
as their primary mode of expression. 

These women are changing an artistic tradition th.J 
tends from Titian to Lucian Freud, in which the femak 
and form have been ubiquitous, usually depicted by 
for an implicitly male gaze. And the most direct way otj 
verting that gaze, they are finding, is to take charge of ii 
ject. They use the female body as a tool to expose i 
amine the repressions and prejudices, the fear and I 
directed at women. With no apologies to Marx, anothel 
lying cry might be "Women of the world, represent \ I 
selves. You have nothing to lose but your stereotypes. J 

For the most part, nineties body art by women I 
relatively raw. visceral, and hands-on approach. Cor 
with much feminist art of the previous decade, which I 
largely photo dependent and conceptually flavored, it r i 
a critique of the images and commodities that conditiot 
ideas of the feminine man an exorcism of what many j 
pie, men and women alike, would prefer to keep unc 
rug. Its subjects are often highly flammable: domestic 
lence. racism, homophobia, bodily functions, rape, sell 
gust. It deals as well with the variety of feminine pleasl 
desire, and sexual power; it also lampoons masculine m| 
and male domination of the art world. And it strikes < 
tional keys that include harrowing tragedy, scathing bi| 
Subject and ness - ra £ e - an< ^ P rou d celebration. 

This art has not materialized out of thin < 
by accident. It comes at a moment when the i 
of women's rights and their control over their I 
ies encompasses a thousand points of conti 
and counting. These range from high-profile i 
and sexual-harassment charges to the on- * 

object: Rona 


sculpture Treats, 

left, 1992, and 

above left, Lorna 

Simpson's 1988 

Sounds Uke, in 

which women's 

faces are 




New York, N.Y. 



Los Angeles, CA 


G It AUGUST 199 4 



The sum of the parts, 


Kiki Smith's cast bronze 

Virgin Mary, 1993; Lick 

and Lather, two of a group 

of self-portrait busts made 

from chocolate and soap 

by Janine Antoni, 1993; 

Cindy Sherman's Untitled, 

§258, 1992; and High 

Heels, a sculpture of 

shoes, fabric, and wood by 

Rachel Lachowicz. 1991 

going battles over abortion, 
pornography, and gay rights. 
Despite 30 years of women's 
liberation, the average work- 
ing woman in the United 
States earns 25 percent less 
than the average man. But 
even this progress can seem 
dwarfed when newspapers re- 
port, as they did last winter, 
on the State Department's an- 
nual human rights survey and 
its grim statistics concerning 
the physical abuse of women worldwide. 

Body-oriented art by women is not entirely new; its his- 
tory stretches back to the late 1960s and includes such fig- 
ures as Carolee Schneemann, Yayoi Kusama, Judy Chica- 
go, Lynda Benglis, and Hannah Wilke. But work by these 
women has never gotten much respect from the mainstream 
art world; perhaps it raised issues and emotions that made 
people uncomfortable. I remember my own discomfort 
with Wilke's photographs and performance pieces of the 
early 1970s. In both. Wilke took full advantage of her con- 
siderable beauty— and ridiculed male desire— by covering 
her naked torso with miniature vulvae made of chewing 
gum. Coming from the ironclad perspective of Minimal- 
ism. I found Wilke's work embarrassing, narcissistic, and 
dumb, not much better than a conventional pinup. These 
days body art by women is getting more than respect. It's 
winning grants and awards, being shown in commercial 
galleries all over the world and in prestigious exhibitions 
such as the Whitney Biennial and the Venice Biennale. 

The work can be divided, in extremely conditional fash- 
ion, into three main modes: blunt, unsparing realism; 
grotesque exaggeration; and scathing satire full of wit and 
rage. These modes are not completely fixed or separate, and 
many of the artists don't adhere exclusively to any one of 
them. Still, they bring a temporary sense of order to the fray. 
In the category of the feminist art of the real, no artist is 
better known than Kiki Smith, who worked throughout the 
eighties in relative obscurity and did not have her first solo 
show until 1 988. Smith has long incorporated idiosyncrat- 
ic. implicitly fragile materials into her work, making figu- 
rative sculptures of paper and using hair, fabric, and glass 
in other pieces. These materials evoke human frailty, while 
their intimations of craft redefine art as "women's work." 
But Smith is most effective in her often unbearably poignant 
life-size wax figures, which give a new edge to a generalized 
realism that can be traced back to George Segal's cast-plas- 
ter sculptures and Edward Hopper's paintings of isolated 
figures. Like Segal. Smith makes casts from actual people. 
which she then converts to colored wax. But she intensifies 
and transcends her realism with shocking details whose ac- 
tuality is ambiguous, more emotionally resonant than phys- 

ically real. For example, a white spinal column at 
the back of a prone figure literalizes its vulnerability. 

For gay or nonwhite women, straightforward, I 
fleeted realism is often sufficient to convey their ser 
difference and to drive their points home. Over the ] 
years, Lorna Simpson, a young artist of color, has hoi 
severe documentary-like style based on repeating hid 
images of women, often wearing simple black or white | 
and seen from the neck down or from the back. Cr 
words engraved on plaques accompany the images] 
gestively layering different stressful situations and inv 
of the self— the medical examination, rape, the job inter! 
and racial attacks. At the core of each of Simpson's | 
fully controlled images lurks the collective memory < 
ery. when those who were black and female had lit 
trol over their bodies or their destinies. 

One of the more striking images in the East Cc 
tion of the Bad Girls exhibition, a flawed but infor 
survey of recent feminist art at the New Museurr 
temporary Art in New York and the Wight Art < 
the University of California at Los Angeles, was a ] 
graph by Renee Cox from her Yo Mama series. A I 
ing self-portrait, it showed the artist, naked except for i 
of black high heels, holding her two-year-old son. ' 
echoes a taunt frequently exchanged by teenage b 
races (as in "Yo mama wears combat boots" and \ 
The image presents a woman, both regal and erotic. 
seems singularly disinclined to take guff from anyor 
whose son will undoubtedly grow up to respect her j 
Even more aggressive is a three-dimensional self-por 
a white plaster cast of Cox, naked and very pregnant, ! 
ing with her feet apart hands on hips. Her confront 
stance is complicated by an accompanying audiot 
which the artist's voice zigzags in tone and meaning, 1 1 
"Baby, you want to fuck me?" in a seductive purr, t 
raged and angry "'Baby, you want to fuck with me?" 

An exceptionally promising artist emerging on the \ J 
Coast is Catherine Opie, a 33-year-old lesbian from 1 
geles who will have her first New York show in the i 
next year. Opie uses an unstinting realism to question \ 
is real especially as far as gender and sexuality are < 
Against backgrounds of saturated tones of blue. deep| 
low . and purples, she photographs women dressed as i 
and men dressed as women. Some of her most pow« 
ages are portraits of lesbian couples whose garb and i 
hormones bring them as close to the biker ideal of i 
as seems possible. The photographs cast adrift any l 
that sexual identity is limited by gender. Their subjects i 
at first strike many viewers as fascinating, freakish < 
but ultimately they are simply women who have ov 
extreme versions of the obstacles and repressions st\ 
poses in some way on almost all females. Their portraits 
images of triumph that any woman should identifs \ 
They depict women caught in the unusually courageous | 
of being exactly who they want to be. 

In contrast to such realism are the artists whose \ 
of choice are grotesqueness and exaggeration. Work of ij 
kind covers an immense qualitative range. A low point | 
example, is the French performance artist Orlan, 
inadvertently grotesque work consists of repeated I 
of plastic surgery designed to give her the facial feat 
famous paintings— like Mona Lisa's forehead. A nc 
high point in this category is Cindy Sherman. Sher- ► 




man is already famous for film-still photographs from the 1 980s, which 
starred the artist in myriad disguises and explored different female stereo- 
types. But her nineties sex-doll photographs go for the jugular. In these 
images, leering plastic faces, exaggerated genitalia, and ludicrous 
anatomies give form to nightmarish extremes of rage, fear, and sexual- 
ity. One suggests the aftermath of a rape; another portrays a monstrous 
female of mismatched body parts who epitomizes the sexually aggres- 
sive woman while satirizing the reclining nude, whether in high art or 
Playboy. In their wild swings between powerless and powerful, these im- 
ages force the viewer to confront not only his or her own experiences of 
these states but also the role of gen- 
der in creating them. 

Rona Pondick also has a way 
with fragments, but she rarely lets 
them add up to a complete human 
being. Rather, she prefers to divide 
and multiply, reducing the body to 
drastically mutated forms and re- 
peating them in absurd numbers so that almost all vestiges of humanness 
are expunged and extreme states of appetite and need are revealed. 

One of Pondick's sculptures consists of hundreds of small pink balls 
that suggest detached breasts but have voracious toothy mouths instead 
of nipples. These simple forms seem to compress male and female to- 
gether, as well as infant and octogenarian, expressing a hunger that bor- 
ders on lust. Other sculptures include breastlike clusters of milk bottles 
that stand around like tiny malformed sheep, or distorted child-size pieces 
of overstuffed furniture that have baby shoes for feet. Pondick's work 
can be full of surrealist shortcuts, but she often succeeds in making visi- 
ble the hormonal currents of emotion and ambivalence underlying even 
the sunniest experiences of motherhood. 

The grotesque plays a big part in Sue Williams's scathing indictments 
of sexual exploitation at its most overt. The raunchy black-and-white 
stream-of-consciousness cartoon style developed by this 38-year-old New 
Yorker is full of smudged, ineptly drawn images, profanity, embarrass- 
ing confessions, and sarcastic asides. But its visual crudeness dovetails 
with its unbearable subject matter: domestic violence, a topic with which 
Williams is intimately familiar (first from her parents and later from a se- 
ries of lovers, one of whom eventually shot her). Williams's savage com- 
bination of rage and humor shows man at his worst, but she also lays bare, 
to a painful degree, the cycles of internal self-abuse that sometimes make 
women vulnerable to mistreatment. In A Funny Tiling Happened, the 
artist lists the possible sites for a rape, maps the different stages of a sex- 
ual assault, and concludes that the funniest thing of all would be to sim- 
ply shoot the attacker ("Geez," he asks, "is it really that bad?"). In other 
works she describes a world in which men bear children and diagrams a 
tawdry extramarital affair, with the husband in a cheap hotel while the 
wife is home alone eating Oreos. 

A lighter artillery is used against more limited targets. Women coolly 
attack male domination of the art world by arming themselves with ma- 
terials and techniques that are intensely gender-specific and loaded with 
physical associations. Some even use their bodies as artistic tools. Rachel 
Lachowicz. another Los Angeles artist, has made abstract grid paintings 
out of pristine squares of eye shadow and especially likes making sculp- 
ture out of lipstick, thereby creating a startling sense of displacement and 
sensuality. Thus she has "feminized" certain milestones of modern art. 
including Carl Andre's plate sculptures and Richard Sena's huge, ma- 
cho leaning lead piece House of Cards which she titled Sarah 

Lachowicz's work is on view in Sense and Sensibility: Women Artists 
and Minimalism in the Nineties at The Museum of Modern Art in New 
York, but she takes aim at other art movements as well. Marcel Duchamp's 
famous urinal has been given the lipstick treatment. And in a performance 
in Los Angeles last year, she painted a naked man with lipstick and had 
him imprint his body on canvas. The black-tie event spoofed Yves Klein. 

The body is sometimes exalted, 

sometimes degraded, sometimes 

simply presented as is, for the 

world to see and understand 

the French nouveau realist who in the late 1 950s made paintings bj 
ing similar liberties with naked women covered with blue paint. 

Janine Antoni is another artist whose work is also largely sating 
intent. She makes extensive use of "female" materials and pre 
though an undercurrent of pain connects her art back to Kiki Sr 
silent figures and perhaps Sue Williams's images of abuse. In a 199? 
formance, Antoni collapsed two of the most acceptable of female ; 
ities, domestic chores and looking good, by mopping the floor off 
gallery with her hair. Much of her work contrasts the more "present 
public face of narcissism with its private, more abusive side, for ex 

juxtaposing the obsession with i 
ical beauty or hygiene with su;| 
tions of eating disorders. 

In the most recent Whitney ' 
nial, Antoni exhibited two Mini 
ist cubes, one of solid chocolaUi 
other of lard, along with a glean] 
Benders-friendly display of two 
ditional aids to romance: tubes of red lipstick and heart-shaped boil 
boxes made of chocolate (one for getting a man, the other for getting j 
Antoni made both these products from scratch, using chocolate and 
that she had "gathered" by gnawing at the large cubes, clearly a ( 
humiliating exercise. Antoni has also made drawings using her i 
covered eyelashes as brushes. And at the Venice Biennale last year s 
hibited fourteen classical portrait busts of herself— seven made of v 
soap, seven of dark brown chocolate. This unusual reprise of th| 
cred/profane duality extended to Antoni's choice of sculptural pre 
which involved licking the chocolate sculptures and lathering the soap \ 
until their features were vague and distorted. These blurred visages $ 
to illustrate both the wear and tear of life on the female psyche and I 
quent inability of women to be truly visible within society. Either waj I 
toni was simply doing what was expected of any normal well-bred won] 
But instead of conducting her rituals in the bedroom or the bathroor 
brought them out into the open and used them to make art. 

The body is a constantly changing presence in the work of nin j 
women artists, sometimes exalted, sometimes degraded, sometimes j 
ply presented as is, for the world to see and understand. Whichever j I 
these and other women artists choose, however, their collectiv e goal j 
tell hard truths, uncover dark secrets, and expose hidden pleasure! 
talk out loud and to seize the power that emanates from their disclosu 
Fittingly, the most unforgettable power seizure and disclosure on 
during the 1 993-1 994 art season was Hannah Wilke's posthumoul 
hibition, held in February at the gallery of her longtime dealers. RoJ 
and Frayda Feldman, in SoHo. After wielding her body beautiful a| 
ironic sword through much of her career. Wilke finished by reconl 
her battle with terminal lymphoma in a harrowing series of monume| 
color photographs. (Still ironic after all these years, she titled the l 
Intra-Venus.) In some images, she vamps coquettishly in the nude. A 
her early work. In others, she is bedecked with medical paraphernl 
and bandages or shown in the bathtub or on the toilet. In every pictl 
her beauty lies in waste: Her head is bald, her face and body bloated, 
eyes wide open, staring into the camera as if it were death itself. Als( 
posed is the courage with which she confronted her suffering, as « e 
her indifference to it. It is indifference grounded in an unwavering st 
of worth that has nothing to do with narcissism. 

It is tempting to see the distance between early Wilke and late W 
as a measure of how far women artists involved with the body hav e a 
in the last two decades, but that would be a little too tidy. If anyone 
come a long way it is more likely the viewers, not the viewed; the con) 
not the content. Amplifying what was there all along. Wilke's fare- 
performance reminds us that while the body can be a potent artistic t 
it is first and last the dwelling place of the human spirit. And that is. a 
all. what we really look at when we look at art. • VOGUE ARTS ► 



{ Oh yeah. I stand around 
the gazebo in my underwear 
all the time, j 

* % 



Most times, cowboys don't like fences. 


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young and restless 

In Richard Holmes's Dr. Johnson and Mr. Savage, 

Rhoda Koenig meets Johnson before he met his Boswell. 

She also evaluates White Eye, a thriller about a quirky 

Australian animakights activist, and Mr. Vertigo, 

Paul Auster's new novel about a boy who learns to fly 

Forever middle-aged, grumpy, and pithy, harmlessly drudging 
at a dictionary, Dr. Johnson remains for most of us as Boswell 
painted him-the embodiment of late-eighteenth-century ra- 
tionality, or, in popular terms, a cute curmudgeon. In Dr. Johnson 
and Mr. Savage (Pantheon), Richard Holmes opposes the bluff, I- 
refute-it-thus Johnson we know with a wildly different portrait, that of 
a young, tenderhearted, and passionate man drawn to low resorts and 
scurrilous companions. Perhaps the worst of the latter was the poet 
Richard Savage, whom Johnson not only befriended but made 
the subject of a biography in 1 744, the year after Savage died 
in debtor's prison. Comparing Johnson's life with Savage's 
life, considering what Boswell knew and what he suppressed. 
Holmes, who has written biographies of Shelley and Coleridge, 
makes a case for Savage as a Romantic poet, avant la lettre, 
and for Johnson as someone who envied yet feared the Ro- 
mantic temperament in its vices and its glory. This could have 
been a dry scholarly exercise, but 
Holmes's sympathetic and imaginative 
handling of the material makes this ac- 
count of an unlikely friendship a fasci- , 

nating literary and psychological de- 
tective story peopled with characters from the 
world of Fielding, Hogarth, and Gay. (My only 
dissatisfaction is a wish that Holmes had re- 
frained from writing his final paragraph, a 
piece of irritating coyness and redundancy.) 
As accomplished in publicity as in poetry, 
Savage marketed his misfortunes, as we would 
say today, beginning with what he claimed as 
the first and greatest injustice of his life-his illegitimate birth and lack 
of inheritance. Though the countess of Macclesfield denied that Sav- 
age was her son by her lover. Earl Rivers, the poet pilloried her in satir- 
ic verse and for a while earned his living by blackmail. Condemned 
to hang for stabbing a man in a brothel, he was celebrated in a wide- 
ly read pamphlet, won a royal pardon, and emerged from prison to 
find himself society's favorite titillating guest, the Claus von Bulow 
of a not dissimilar time. 

Like many rogues, however, Savage was generous with money, when 
he had it (at the end of his life, he was still squandering a month's in- 
come in a few days' drinking), and prodigal with his charm, even in his 
greatest despair. Chained and awaiting a death sentence. Savage wrote 
to a friend that he had managed to ward off a pestering priest "by talk- 
ing on points of religion, and learning, a little above his capacity": his 
last jailer was so taken with Savage that he tried to buy his freedom. The 
stoic and the entertainer, however, impressed Johnson less than the 
artist, who in such works as "The Bastard" and "The Wanderer" pre- 
figured the Romantics in identifying the poet as a gloomy, tortured out- 
cast. Projecting his hatred of his neglectful mother onto a society in- 
different to his genius. Savage dramatized his unhappiness to the point 
of self-destruction: "Hopeless, abandoned, aimless, and oppress'd/Lost 
to Delight, and. ev'ry Way distress'd: . . . /Why do I breathe?— What joy 
can Being give?/When she. who gave me Life, forgets I live!" 

The lure of biography is that i 
be a form of displaced autobiograj 
allowing the author to analyze 1 
at a tolerable psychic distancej 
choosing to write about S< 
Holmes suggests, Johnson was ablj 
express and analyze his own ang 
at the world's neglect and his ] 
frustrated longings for love. 
Johnson roamed the streets with ! 
age, joyfully philosophizing late 1 1 
the night, he was not only enjoying his friend's companionship I 
escaping a wretGhedly unhappy wife old enough to be his mothj 
The respectable Johnson loved the raffish Savage, but he also pi^ 
and, lovingly, condemned him: "He proceeded throughout his ] 
to tread the same Steps on the same Circle; always applauding his A 
Conduct, or at least forgetting it, to amuse himself with PhantomJ 
Happiness, which were dancing before him." 

Boswell, who met Johnson when the latter was immutably famn 
could tease his hero but refrained from probi 
publishing, the facts about the loneliness and 1 
ings of his early years. His Johnson, who has 1 
ours, was a great success— as is the hero of any 1 
or life, if nothing is said about his youthful drea 


•.JlfcrlfeSaocii W 

It's not politically correct to say so, or at least to mJ 
it as a compliment, but Blanche d'Alpuget writes [ 
a man. The author of several novels about cor 
in the Middle and Far East, d'Alpuget is an | 
tralian with a taut prose style and a cool, toug 
praisal of nature and its most destructive spec e j 
White Eye (Simon & Schuster) she ranges over J 
much ground for one book, but the distance she covers is impre j 
An Australian animal-rights activist who eats roast beef and kills I 
bits, Diana Pembridge rushes to help a wounded eagle and finds I 
body of her rival in love. The dead woman was, like the eagle, a beaj 
ful predator, and stirred up a lot of trouble at the Exotic Feral Spo[ 
and Microbiology Research Centre, on whose grounds she is discj 
ered. Its director, a sadistic tyrant whose trips to Bangkok cover s 
undeclared business, might have wanted her out of the way; so i 
his wife, a petulant ninny who may not be as ineffectual as she s 
As Diana, who suspects that illegal experiments are going on, 
her way deeper into the center, more bodies hit the floor, and a • 
plan comes to light involving the disease of the title. White eye is a 1 
condition that drains all color from an animal's eyes before death, 
it also represents the moral blindness of politics and big business. 

Not surprisingly, the nonhuman characters— the raptors go! 
unmaliciously about their business, the chimpanzees mutilated j 
convenience— evoke more sympathy than the scientists pursu I 
power and profit. The most absorbing sequences in H 'hue E 
cern Diana's returning to the wild a falcon 
she has rescued and loved, and then teach- 
ing the recovered eagle to fly and hunt. 
"She felt the strange, convulsive tightening 
of gigantic hands and the shimmering noise 
of feathers closing. The wings came down 
and were folded smooth. The huge, scaled 
feet under the dark feather trousers were 
fastened around her arm. and the beak was 
fifteen centimeters from her left eye. The 
serpent neck bent, and the food disap- 
peared." The eagle's hesitant flight 
(d'Alpuget too explicitly tells us) rep- ►! 60 

Mr- vertig 














j , VB1 

r | 


"Success Comes One Step At A Time. " 

Phyllis Poland 

Thinking on your feet 



resents Diana's own awakening, as i 
covers the confidence and daring shz 
her romantic failure and is able to gi\ 
self to a new lover. Unfortunately, this i 
veyed in the kind of prose to whichl 
thriller writers resort when they feel oil 
to produce the love stuff: "In his urgei| 
brace she felt years of loneliness dissol 1 
turn into joy." 

Like the rather hastily contrived 1 
some themes appear in Wliite Eye too 1 
to be dealt with in a satisfying way: 
possession of Australian natives al 
whites who love the land (the lab was Dl 
old homestead), the contrast betweel 
ana's robust brand of animal protectiol 
that of the dolphin-worshiping "ecomysj 
The director's wife, who whines that 1 
only sleeps with his assistant but wor 
her vichyssoise. is a wonderfully comic I 
ster of pettiness and self-delusion, but J 
not onstage long enough to lighte] 
solemn megalomania of her scheming 
band. To put the problem in gender td 
d'Alpuget seems uncertain about whl 
she is writing a social novel (messy with j 
feeling, detail, and philosophy) or sir 
thriller (hard, streamlined, full of powel 
evil). Having shown us she can fly fail 
might try lighting a while. 

Paul Auster's Mr. Vertigo (Viking) cl 
not conceivably have been writtenj 
woman, a strong statement in defense < 
sex. This fable about Walter, a midwel 
boy who, in the mid-twenties, is taught 1 1 
itate by a mysterious Hungarian Jew. 
ternatively nonsensical and repulsivj 
bereft of logic as it is of atmosphere. Nl 
of the time it is content to let its charaJ 
rattle about in a social vacuum: When tv| 
Walter's friends are murdered by thti 
Klux Klan. it's the first that we know| 
there is any prejudice against them. 

Auster's teenage marvel tells his stol 
terms that are unremittingly coarse, somet[ 
coprophilic, with dreadful folksiness ("I 
cast aspersions on my privates, ma'am, 
may be trifles to you, but I'm proud of tl 
just the same") and no regard for consist^ 
(characters who can barely articulate sudc 
become loquacious and metaphorical). Al 
from a few episodes of fearful exhibition 
or nightmarish violence, the novel for the il 
part simply stays with the relationship bet\| 
Walt and his mentor, but the analogy bet 
sex and levitation is never worked out. ^1 
loses his virginity offstage, in passing, ancl 
sexual scenes we do observe are voyeurl 
and masturbatory. For a novel about flil 
\ fr. I ertigo is a curiously claustrophobic wl 
Its author sounds like he needs to get oi| 
the house. • 




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the liberation 
of Christie whitman 

Survivor of a brutal campaign and the shortest 

honeymoon on record, New Jersey's first female governor 

is still called a "broad down the hall" by members 

of her own party. But as Eric Pooley reports, 

she's not worried about a thing 


Then the phone rang. A trooper ] 
up the receiver and heard the throaty i 
a Georgetown bar, boisterous singn 
Carousel?— and a familiar voice. 

"It's 11:00 p.m.— do .you know \ 
governor is?" 

"Governor Whitman—" 
"We're singing show tunes," 
Christie Whitman. "Come on down | 
join us." She'd won again. 

Life inside the bell jar doesn't always* 
with newly elected governors. The pre 
of the statehouse— skeptical reporters, 
nate legislators, intractable problems, 
who want promises kept— can make i 
persona stiffen and crack like a papier 
mask drying in the sun. 

Christie Whitman hasn't succumb 
these pressures— at least not yet. At 47. 
. one of those rare public people who : 
erated by office. The omnipresent trc 
provide her with a team for pickup I 
ball. The reporters give her a chance to i 
rise her talent for plain talk. Whether thi 
islature will bend to her will remains to be < 
but this much is clear: After just six mol 
running the state of New Jersey, Whitmj 
an unlikely star in national Republican [ 
tics. She is comfortable with her power 
ics say she regards it as her birthright 
self-confident that she can let her ir 
peek out from under the mantle of officl 
"Just before the inauguration, she led 
me in the eye and said it's starting to hit I 
be the governor." " says her close friend H 
Gluck. now the best-positioned 1 
Trenton. "I said, i know. I'll have to < 
ing you Governor in public' She said it" 
me— 1 put my panty hose on one leg at a 1 1 
That's Christie, and people are getting to kl 
her now. and to like her. She's letting her j 
chievous streak show 

That streak hasn't always been i 

| he New Jersey state troopers knew all about this new gover- 
nor and her Houdini act, and they were just not going to let 
her get away with it. 

They knew that Christine Todd Whitman liked to slip the chains 
of her security detail and take long walks alone, and that she made 
a game of it. They knew this because shortly before Whitman was 
sworn in as governor, they had been forced to hang cowbells on the 
side door to her office so the) could hear her when she tried to es- 
cape. She covered the bells with masking tape to silence them and 
sneaked out anywa) . Then they posted a guard in the hall and or- 
dered him not to take his eyes off the door. 

"Hey— no fair." the governor elect said. 

Now. a week after her inauguration. Whitman was attending a 
national governors' conference in Washington. D.C. Her troopers 
booked a hotel room betw een her suite and the elevator bank. They 
left their door open until they were sure she was ensconced for the 
night, then settled in themselves. The) heard music from her radio 
coming through the w all. water running in her bathtub, then silence. 
The governor was relaxing, so the) could relax. 

Last year, in a bitter photo finish race ; 
incumbent Jim Florio. she seemed to be another plastic politician- 1 
feminized policy machine wearing the mask of a stoic good sport. If 
a relentlessly nasty campaign, even by New Jersey's sour standardsj 
state's political system offers few paths to power, since there are on' 
statewide elected offices (two senators offstage in Washington ; 
governor), a Jersey politician's run for any of them is a huge leap. 
torically. the state's few female politicians have found this leap untl 
able because they rarely got elected to the lower offices that are traditi 
jumping-off points for the top jobs. Even today the state is unfriend 
political women: its congressional delegation has just one female n 
ber. and only 1 5 of the 1 20 seats in the state legislature are filled b> won 
a level of female representation low enough to rank New Jersey f 
first out of 50 states. 

"Christie and 1 always looked at the governor's office as the b 
ring." says her husband. John Whitman, a millionaire financier, 
enormous reach, but one worth going for." Governor is the plum 
The state's CEO controls a S 1 5.4 billion budget, wields extraordi 
constitutional clout (including a line-item veto), and has enormou 
tronage power. The job is hard to get but easy to keep; before 1993. 


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only one sitting governor had ever lost a 
reelection bid. 

Jim Florio didn*t want to break that 
record, but the S2.8 billion tax hike he 
pushed through in 1 990 did him in. (At 
his campaign kickofT, one speaker tried 
to rally the crowd with this line: "No one 
e\ cr accused him of being popular.") To 
divert attention from that, Florio turned 
Whitman into a cartoon, an heiress from New Jersey horse country who 
was hopelessly "out to lunch." 

The daughter of Republican party powerhouses from another era. 
Whitman was famous mostly for her shockingly narrow 1990 loss to 
Senator Bill Bradlcv ; her only previous elective office had been as a 
Somerset Count) freeholder, a kind of county supervisor. She was giv- 
en to colossal gaffes ( "Funny as it seems. $500 is a lot of money to some 
people"). Her amateurish campaign survived some epic blunders: When 
she unveiled her crucial plan to cut taxes, for instance, the numbers on 
the page literally did not add up. so her plan seemed no more than a 
cynical ploy. Distant on the stump. Whitman came across more like a 
set of policies than a person a \ irtual candidate. No wonder she was 
dismissed as political dead meal 

Yet Whitman never lost her poise, and in the campaign's final weeks, 
she began to loosen up and talk about herself. The response was phe- 
nomenal people seemed to \\ ant a reason to vote for her. and she ga\ e 
them one. She squeaked into office on 25.62N \ otes out of 2.5 million cast. 
"After the election everyone was saying. 'More people voted against Flo- 
rio than voted foryou,' " Whitman sav s. "OK. that's true. But 1 still won." 

She had tw o daj s to celebrate before her campaign consultant. Ed 
Rollins, firebombed the party. He boasted about handing out S500.000 
in "street monev " to church leaders to suppress the black \ ote. \ le tried 
to spin his w ay out of the mess, but the public w as repelled, and Whitman 

was on her way to becoming a national symbol of ra 
conduct. She called Rollins a liar, and her outrage : 
both genuine and innocent. Standing with a dozen ang 
isters. including Jesse Jackson and Al Sharpton. she said 
if it turned out that secret payments had been made to 
churches, she would resign and call for a new election, 
tually. prosecutors said they'd found no evidence of w | 
doing. But Whitman seemed hopelessly damaged ju 

"Every once in a while I look at that picture of me 
Jesse Jackson and Al Sharpton." she says, "and I thir 
this really happen? Our honeymoon was so abruptly en | 
A second honeymoon is well under way. She has 
the ugly public image Florio tagged her with ("dumrj 
bitch." as her husband so succinctly puts it), and hit 
proval rating is a gaudy 78 percent. There's already s ; 
ation about a place for her on the 1 996 Republican || 
dential ticket. She calls this "silly talk." 

Whitman's appeal is due partly to the happy accidi 
an improving economy, partly to her fulfilling a prom 
cut state income taxes. She's made good on about half J 
promised 30 percent cut, and most folks salute her for | 
cause the pain it will inevitably bring is far on the horizo I 
far. even political trick has work 
Whitman's advantage. When herj 
esty gets her into trouble with intj 
groups, it pleases the crowd. The t(j 
ers' union, for instance, hates Whit- 
talk about teacher recertification. < 
parents love it. "She won't not ans^B 
question, even if the answer is goiiB 
make some people mad." says her 
of staff. Judv Shaw. "We say, "Holdl 
tongue.' but she doesn't know hov 
A patrician with a populist uJ 
Whitman tries to deflect charges thi I 
policies are warmed-over Reaganis J 
saying, "The problem with 'trickle d j 
economics is that it never trickle] 
enough." She has backed up this t 
sparing social programs from the budget ax and raising the tax thres 
so that 380.000 poor residents no longer paj state income tax. Shi] 
played the symbolism game well- swapping the state's Cadillacs for oh 
er sedans, giving up the governor's helicopter ( it is now a Medivac c 
per). And she has displayed a clear-minded leadership style— last sr 
she countered the anti-Semitism of Nation of Islam spokesman K.I 
Muhammad not by denying his right to free speech but by organi 
free screenings of Schintfler's Lis!. 

Whitman's glaring w eakness is her lack of a coherent urban strai 
She is fond of Jack Kemp-style "empowerment" rhetoric smarter 
grams that do more with less, letting the poor take control oflheir 1 
that sort of thing but she falters w hen people try to pin her down. At 
televised town meeting, someone asked Whitman if she would go. 
institutional racism— redlining by banks and real estate companie 
equities in the educational system- with the same fervor she dire 
against Khalid Muhammad's racist speech. This time, her plainspt 
sty le failed her. " We're ensuring that we get behind that problem, 
said, "so we can start to provide the basis that will allow for the grc 
and allow for the housing and bringing in the people into the cities. 
ing them good economic footholds so that thev really can thnv e . 
And so on. and on. and on. 
Such lapses are rare. Where her predecessor conveyed a sense 
gov eming was grim business. Whitman suggests it is a pleasure. 



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something that can be mastered 
through the same clean thinking a busi- 
nesswoman might bring to running her 
company or a mother to raising her 
kids. When she mentions contradicto- 
ry policies that she's inherited— the 
state's practice of paying for fertility 
drugs for poor people on Medicaid and 
a welfare policy that denies added pay- 
ments to women who have more chil- 
dren while on relief— her usual no-non- 
sense look turns incredulous. "We help 
you get pregnant, then withhold pay- 
ments for additional kids," she says, making it clear that she wants to do 
away with the fertility coverage, not the tough-love welfare plan. "As gov- 
ernor, I try not to send mixed messages. It's the same lesson I learned 
years ago when I grabbed my son and got ready to whack him and said, 
'Don't hit your sister!' Wait. Something's wrong with this message." 

She is learning to use her quick, astringent wit as a political weapon, 
deploying it as she moves through the perpetual present tense of public 
life: an endless cycle of TV and radio call-in shows, press events, town 
meetings, and public appearances. (Opponents call it cheap PR; Whit- 
man calls it getting closer to the people.) Before the first round of a char- 
ity golf tournament in April, Whitman 
crossed paths with a state senator who 
opposed her tax cut. The senator was af- 
fable: "Governor, what would you like 
to shoot today?" 

"You." she said. 

The senator knew enough to laugh, 
but sometimes it's hard to tell if Whit- 
man is joking. One afternoon I was sit- 
ting in her office, chatting with Whitman 

and her press secretary, Carl Golden. Whitman told us that she'd been 
thinking about a new slogan to promote the state. "How about do rr in 
new jersey?" she asked. 

"do rr in new jersey?" Golden repeated in a lecherous voice. 

"Do business in New Jersey," she said. "Do your fishing in New Jersey." 

Golden laughed. "If I came out of the Holland Tunnel and saw a 
DO it in new jersey billboard," he said, "it might mean a great many 
things to me." 

"Well." Whitman said blandly, "you want those kinds of slogans. You 
want to appeal to a lot of different people." 

"Is New Jersey Ready for a Woman Governor'.'" 

The article, from a mid-fifties edition of the Newark Evening News, 
implied that New Jersey was not. But if the state had been ready, the 
newspaper went on to say, Eleanor Schley Todd would have been the 
ideal candidate. Christie Whitman's mother— the longtime vice chair- 

There's already speculation 
about a place for Whitman 

on the 1996 Republican 
presidential ticket. 

She calls this "silly talk" 

far left: : 
Bradley trie 
ignore WhH 
challenge \\ 
she came < 
points of urj 
him. left: i 
campaign I 
by New Jer 
standards, I 
was nasty, i 
days after i 
office, WW! 
campaign < 
boasted he I 
preachers 1 
suppress 1 
vote. She i 
press con 
vowed to i 
charges i 

man of the Republican National Committee aij 
force in state politics and education— was so strc 
personality that her sons called her the Hurric 
but only behind her back. Christie's father, Web 
Todd, was a builder (New York City's Radio ( 
Music Hall, Rockefeller Center), a fund-raiser, j 
i P* a longtime GOP state chairman. "They were a ] 
er couple before the term existed," says a family fri<j 
Says Whitman, "They had a strong partnership, and the conver 
was always equal. There was never any feeling of one being domi 
People were scared of them both." 

The Todds raised four children— Christie, born in 1947, wasf 
youngest— in an eighteenth-century farmhouse set on 222 acres in 1 
terdon County, New Jersey. They called the place Pontefracht, i 
was— and is— a working farm that works just hard enough to qualify! 
a tax break. If its farm production is limited, the sense of place it gavj 
Christie is not. (Two years ago she and her husband moved back to| 
farm, and she still spends weekends there.) 

Everyone knew the Todds. 1 
New Jersey governor Thomas Kean i 
them "the kind of strong, decent ] 
that others count on for support andj 
vice. They taught Christie to sue 

Other girls she knew talked at 
horses and getting married; Christie wj 
ed to work on political campaigns ' 
cause then it would be impossible tol 
bored." Graduating from the Chal 
School, in Manhattan, in 1964. she went on to Wheaton College. Thl 
she studied international government (she already knew more aboutj 
mestic politics than most of her professors), debated in favor of the 1 
nam War. demonstrated for the pill. After graduation in 1 968, she enl 
ed in Nelson Rockefeller's presidential campaign and got to join him I 
New Jersey motorcade. "You'd see women come out of the beaut\ shl 
with their hair in curlers." Whitman remembers, "men come out off 
barbershop with shaving cream on half their face. There weren't mfi 
politicians who inspired that kind of feeling." 

She didn't yet aspire to become one herself. Options for political woo 
were limited to behind-the-scenes work. Christie Todd went to Wal 
ington. worked some staff jobs, and then, in 1 969. proposed a projecl 
the Republican National Committee. She wanted to understand why <l 
leges had started going up in flames the year after she graduated; w| 
some groups— blacks, college students— hated Republicans. 

It's a touching image: a sheltered, fresh-faced young woman ► 



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traveling across the country with a tape recorder, interviewing welfare 
families, gang members, and student radicals about why they felt estranged 
from the party of Nixon. 

"We were children," says Nancy Risque Rohrbach, who traveled with 
Christie Todd that summer and remains her best friend, "young, ideal- 
istic Republicans who wanted to shed that stiff old WASP outlook." 

In the East Ward of Chicago, the sisters from another planet met the 
Black Disciples gang. "The meeting was in a long, narrow room," Whit- 
man says. "We were at the far end, away from the door, and the Disciples 
all came in wearing their stocking caps and stood between us and the 
door." The Black Disciples put the rich white girls through a little test, 
"slinging out every swearword they'd ever heard. But I'd grown up on a 
farm with two older brothers, and it didn't faze me. Once we got over that, 
we got into a very interesting discus- 
sion about the role gangs played in their 
lives. This was back before we were 
talking about dysfunctional families, 
yet it was clear that a lot of them had 
moved to a gang because it provided 
structure. They were just looking for 
someone to care about them." 

She wrote it all up in a report, but 
the party didn't pay much attention. 
She was working at a desk job with the 
Peace Corps by then, and a young man 

named John Whitman had just come to town. Whitman— son of a New 
York judge, grandson of a New York governor— had been crossing paths 
with Christie Todd for years without paying her too much attention. He'd 
gone out with every girl in her class at Chapin; they'd met again during 
college, at parties and while skiing in Vermont. Now John was out of 
Yale, back from Vietnam, in Washington on a Harvard fellowship. He 
and Christie started playing tennis. 

"I was the bright young man who was going to change the world," he 
says. "I was the Washington old-timer who'd seen it all in three years," 
she says. "We didn't like each other at all," they both say. 

Christie Whitman swears she didn't know this was the man for her. 
In 1 973, however, she invited him to join her at Nixon's second inau- 
gural ball. "She wanted someone not too serious but who liked to 
dance," says John Whitman. "It was unusual to keep bumping into 
the same person. I realized we were moving in the same direction. 
Christie moved to New York, and we started going out seriously." 

They were married in April 1 974, built a house, moved to England for 
a couple of years. She gave birth to Kate and then, a year later, to Taylor. 
She was a New Jersey mom, albeit an extremely wealthy and well-con- 
nected mom. when the Republican county chairman called in 1 98 1 and 
asked if she would consider running for freeholder. 

"I grabbed it." 

Soon she became director of the county freeholders. She made a name 
for herself by plunging into sticky not-in-my-backyard political battles- 
siting a landfill, a homeless shelter, and a halfway house for alcoholic boys. 
"The closer you get to the people, the worse the fights are," she says. 

She was ready to move up from township politics when Tom Kean 
asked her to join his cabinet as president of the Board of Public Utilities. 

"I'm not sure she thanked me." says Kean. "It's no fun being in charge 
of garbage, or telling people how much they'll pay for gas and electrici- 
ty, but that was the job. Most of my cabinet members would come into 
my office and tell me the problem. Christie Whitman would come in and 
tell me the solution." 

Other rising stars started figuring Whitman into their calculations. 
Hazel Gluck. who had become Kean's transportation commissioner, re- 
members when Christie first floated the idea of running for Bill Bradley's 
Senate seat in 1 990. "I said, 'Take a shot -at least you'll raise your name 
recognition.' " 

Her parents were a power 
couple before the term existed. 

Says Whitman, 'There was 

never any feeling of one being 

dominant. People were 

scared of them both" 

Kean advised her against it. "If she lost by a lot— and conventic 
dom said she would— she'd be dead politically. I told her to wait i 
congressional seat came up. Of course, she had more courage than ] 

Nobody else wanted to take on Bradley, or the Republican bosses i 
never have let Whitman try. The respected two-term Democratic < 
and former basketball great was considered unbeatable. But WhiJ 
would do anything to make the leap to statewide politics, and this \ 
opening. She knew better than to think she could win. Taylor a 
then eleven and twelve, were worried about leaving their friends 1 
so she promised them they wouldn't be moving to Washington. 

The party insiders took Christie for a lightweight from a powerfull 
ily. "They assumed this would be the end of Christie. 'We don't ha| 

worry about her anymore." " s 
husband. They gave her little s 
and less money she raised $ 1 
to Bradley's S 1 2 million. George 1 
declined to make an appearance < 
tend a fund-raiser for her. Brae 
strategy was to pretend Whit^ 
didn't exist. "It was like s 
hill against the flood," she says, 
was so well financed, and ever 
he said made the papers. I was 1 
I made the obits." 
Yet Whitman almost wrote Bradley's obit. Badly misjudging Newl 
sey's mood, the senator refused to give his opinion of the tax hike J 
Governor Florio had pushed through that year. Whitman made her< 
ion clear and tapped right into voter anger. She felt the change in the* 
tion's final weeks, knew how close she was, but she couldn't get the I 
es to kick in any money. "The old boys just didn't believe in her," l 
Gluck. She pleaded for S200,000 for a last-minute media buy on Phi 
phia TV, which reaches southern Jersey. The boys said no. 

On election night, the Whitmans were dining in their hotel, waii 
for the returns to come in. Taylor came into the room looking nervj 
and sad. "Mommy, you'd better come upstairs," he said. "You're ; 
You said we weren t going to Washington. " 

"Don't worry, honey," Christie Whitman said in her most mothf 
voice. "Essex and Hudson counties aren't in yet. It's OK." 

When it was over, she had come within two points of uns^ 
ing Bradley. 

Whitman laughs now, thinking about that race while sitting! 
long, gleaming table in her statehouse office. A smile consumes i 
narrow face. "Of course, I didn't really want to be senator." she s 
"I wanted to be governor." 

I ask her what was hardest about making it to this office. 
"The children." she says, "are probably the toughest balancing | 
of all. Because they didn't ask for any of this " 

They did ask to go away to school; they would be at Deerfield t 
emy in Massachusetts even if Mom wasn't governor. "Last week 
was Parents' Weekend," says Whitman. "Kate said, 'OK. we i 
do some mother-daughter bonding.' She and I went off for a < 
coffee, just the two of us." 

The separation is difficult, but the timing has made some I 
ier. The children left for school in the fall of 1 993, just as Whitr 
race against Florio was reaching its ugly crescendo. 

"It was good they were away," says Whitman. "That would have \ 
rough." A few months ago, Kate had to research something in The I 
York Times, and she went through all the issues from the fall. "Shes 
'I didn't realize." " 

Kate was proud that her mother overcame so much— beginning l 
sexism and the Republican party's reluctance to support Whitman I 
governor. If a man had come so close to beating Bradley in 1 990, 









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Whitman's allies say. there would have been no doubt about who would 
face Florio in 1 993. (Others point out that former state attorney general 
Cary Edwards would have run in the primary no matter what.) The larg- 
er point is unassailable: "'The party didn't want Christie," says Hazel 
Gluck. "Republican leaders told her. it's not your turn, dear.' I said, 
'Christie, if you wait your turn, your turn will never come." " 

Despite her own battle to be taken seriously, Whitman is uncom- 
fortable calling attention to the problems of being a woman. In fact, 
of all the blunders that caused local pundits to refer to Whitman in the 
past tense-hiring, then cutting loose the TV consultant responsible 
for the infamous Willie Horton commercial; visiting Caso's Gun-a- 
Rama in Jersey City at a time when antigun sentiment was at an all- 
time high her misplay of the gender issue may have been the worst. 

"Reading her speeches and po- 
sition papers, you couldn't tell if 
this was a man or a woman run- 
ning," says Gluck. Whitman's hus- 
band (who was so protective he al- 
most bopped a few reporters), her 
brother Dan, and Ed Rollins all 
thought she should ignore the issue. 
She agreed. "I felt it was the issues 
that were important." Maybe she 
took gender for granted because she'd never felt anything but equal. 
Whatever the reason. Whitman soon grasped her error. On the cam- 
paign trail, she noticed that women were bringing their daughters to 
meet her. They started telling her she was a role model. Trailing Flo- 
rio badly, she changed her style. Allowing a touch of emotion to creep 
into her voice, Whitman started implying that she was more caring 
than Florio. "I'm the mother of two teenagers," she said in aTV spot 
about drunk driving and gun control. "I know what it's like to worry 
on a Friday night." Riding an old-fashioned campaign bus from coun- 
ty to county, she signed autographs, waded into crowds, and heard 
people cheering when she avoided the Republican tendency to waffle 
on abortion rights. "I am pro-choice; I've always been pro-choice," 
she said at one stop. "It is a very personal decision between a woman 
and her physician, and the government should stay out of it." 

"She had started to lose heart, but then she relaxed and became her- 
self," says Nancy Risque Rohrbach, who rode the campaign bus with her 
old friend in the last weeks of the race. "Every day on the road she be- 
came stronger and stronger, the crowds built, the enthusiasm bubbled 
up— men cheering, women rushing out of beauty parlors with curlers in 
their hair." She'd become a charismatic politician-the kind she'd ad- 
mired in Nelson Rockefeller 25 years before. 

She downplays it now. "I am a mother and a wife, and those are 
important parts of my life, and I needed to talk about those, not 
just economics." 

Sitting in her office high ceilings, fresh-cut flowers— I ask if she thinks 
of herself as a feminist. Her hand goes to a gold flag pin on the lapel of 
her white linen jacket. If she wants to run for national office. Whitman 
must somehow come to terms with her party's right wing. Whitman hasn't 
\ et figured out how. She has never danced around the issue of a woman's 
right to choose. But she does dance around the/word. "I believe in pro- 
moting women." she says. "I believe that women need to have a place at 
the table. We need more female voices. But I'm not out to run govern- 
ment as a woman or for women. I don't think most women want that.'" 
She falls into some boilerplate: "We are affected by the same issues; we 
care about economics and employment and 

She stops abruptly. "I'm uncomfortable with any kind of label." she says 
finally. "It just doesn't fit. It raises expectations on both sides. If you say 
you're a feminist, people expect that you're going to do a lot of aggressive 
changes of policy. I say. just do it and let people decide what you are." 

Asked if she considers herself 

a feminist, Whitman says, 

"I'm uncomfortable with any kind 

of label. I say, just do it and let 

people decide what you are" 

She starts thinking aloud about what's changed in politics | 
the past decade. "I am at the cusp as far as women are concer 
My sister, who is twelve years older than I, was brought up in a i 
where women were secretaries or supported by husbands. I wa 
I don't think a woman could have run for governor ten years ; 
was tough enough today." 

She doesn't dwell on the grudging support of her party in the j 
nofs race, but she hasn't forgotten, either. "We made it," Whitman I 
"and that's the bottom line. But there were some galling moments] 
an end-of-year Republican party event, the outgoing state finance < 
man started talking about how great it was that a particular fund had| 
ed the year with more money than it started with. "My husband < 
killed this person," says Whitman. "We could tell him why his func 

more money— because he di 
spend a penny on my race, tl 
you very much." 

I remind her of somethin 
said during the campaign to 
cal reporter Michael Aron: "1 
more knives in my father's 
from friends than I ever did froi 
emies. I know how it works i 
state." One long knife said that 
man's male advisers made her decisions for her. Aron. in his book 
ernor'sRace, quotes this exchange between political operatives: 
"How big is Whitman's tax cut going to be?" one asks. 
"John hasn't made up her mind yet." 
The truth is. she made up her own mind on a 30 percent cut 
three years— and now she's reading economic tea leaves, tryi 
decide whether and when she'll be able to achieve the full cut. 
will do it," she says, but others aren't so sure. This year's budget 
easy, because Whitman broke a campaign promise not to use ' 
shot" revenue sources (income that evaporates after a year, and 
doesn't solve any long-term budget headaches). Easy-but the 
islature still squawked, teachers and state workers still prote; 
and Whitman still had to use that 78 percent approval rating 
hammer to pound the local pols into line. 

Next year comes the hard part. Phase two of her tax cut will re< 
state aid to towns and cities. Will voters blame her when local taxe: 
hiked to make up for lost state aid Will people feel too much pain? 
test will be how creatively she reduces the size of government." says 
Kean. "What to downsize, what to privatize, what to do away with 
gether. All those choices will be critical, and I know she will choose w 
Kean is an optimist and a friend: Trenton is full of others just wa 
for this governor to slip— to lose her battle with the state workers' u 
(she's doing away with some cherished perks), to botch her bid to ref 
the public-school financing system, which has vexed every governors 
Kean. Because property taxes fund schools, inner-city districts get 
money than those in the suburbs. The state supreme court has dem 
ed that the balance be redressed to the tune of S450 million, but vc 
oppose a Robin Hood-style redistribution of wealth. Whitman arj 
that dollars alone won't solve the problems of urban schools and has a 
the court for more time. As a tax cutter. Whitman has the stature tc 
ker with the school-taxation system— but will she? 

Her enemies hope she'll flinch. As a liberated politician 
course, she contemplates those enemies with a measure of set 
ty. " John hasn't made up her mind yet-that was from Rep 
cans." says Whitman. "And it still goes on. You know. "The brc 
down the hall.' A lot of them don't think I know it; of course I k 
it. But you just can't waste time worrying about it. You don't 
get. You know who they are. And you know never to turn your t 
on them again."* 





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girth control pills? ^ 

Dieters who have tried everything with little success are 
turning to a new generation of weight-control drugs. 
Laura Fraser learns whaf s available, what's on the 
way, and what you should be worried about 

Rachel Frost,* a 38-year-old 
arms-control analyst, has 
tried every diet program 
imaginable. Each time, she would lose 
weight shedding as many as 75 pounds "^ 
from her five-foot frame— but it would 
boomerang right back. 

Now, once again, she has lost 45 pounds; in nine months 
she has gone from a size fourteen to a size two. This time, howev- 
er, she's convinced she's going to stay thin. She's doing what most physi- 
cians recommend: She exercises regularly and eats a sensible, low- 
fat diet. But what help her stick to her regime aren't the weekly 
weigh-ins. motivational lectures, hypnotherapy, or food charts 
she's tried before. What help are the pills she takes every 
day— a combination of two drugs that regulate what she 
and her doctor believe is a biological imbalance. 

This is the first time I've ever felt in control." she 
says. When she takes the pills, she's more apt to work 
out. eat properly, and feel good about herself. The one 
side effect she experiences is a constant thirst, which 
doesn't trouble her. She's tried going off the medication 
for a month at a time, but she gains about a pound 
a week, so she plans to just stay on the drug— for 
life, if necessary. "I consider it like insulin for a di- ! 
abetic." she says. "Being obese is not a matter of 
willpower. It's a medical condition that has to be 
treated with medication." 

Diet pills are becoming more popular if only by default 
got a dry well," says University of Cincinnati ealing-dis- 
orders expert Susan Wooley. "Rather than 
accepting the fact that for the time being 
we don't have a viable treatment for obe- 
sity, we are resuscitating drugs 

Indeed, it's clear to many phy sicians 
that there are no other good alternatives 
Yo-yo dieting— losing and gaining weight over 
and over again, even as little as five or ten pounds 
puts such a strain on the body that in many cases, dieting is a 
worse health risk than being overweight. The low-calorie di- 
ets that physicians have relied on seem to train the body to 
survive on less food, lowering the metabolic set point; mam fat 
people can right!) claim that diets have made them fatter. The old 
\\ isdom that obesity is a matter of simple math adding and subtract- 
ing calories eaten and expended is being replaced by a new paradigm 
that suggests that weight regulation is much more complicated, a del- 
icate system invoh ing genetics, nutrient absorption, and brain chem- 
icals that control appetite and mood. 

Many doctors are coin inced that onlj drugs can fundamentally alter 
this balance. At this year's conference of the North American Association 
for the Study of Obesity (N AASO ). for instance, little u as mentioned about 
calorie-counting, behavior-modification, or antidiet approaches to keep- 

*77»'.v name has been changed. 

ing overweight people 1 

Instead, investigators i 

on possible new appeti| 

pressants and on research hinting that drug 

stop our cravings for fat and speed metabolii 

neticists are on the trail of genes that make ] 

other researchers are working on drugs thatl 

safely mimic the energy-burning effects of exe| 

Two new diet pills— an appetite suppress 

ready used in Europe and a drug that blocks I 

sorption of dietary fat— are already making the 

through the long process of FDA approval. 

-while, physicians are prescribing old diet drugs il 

combinations, particularly the pair of appetite supprel 

that Rachel Frost is taking— fenfluramine (or Pon<| 

and phentermine (Ionamin). According to h 

Merker. executive director of the Americ 

ciety of Bariatric Physicians (whose | 

bers specialize in obesity treatmer 

percent of his society's doctors ar^ 

using these medications, up from ; 

number five years ago. 

While the drugs may be old. tH 

proach to diet treatment is ne^ 

doctors in the field. "This isn't 

weight while you sleep.' " cautions Denise Bruner. an interni'J 

board member of the American Society of Bariatric Physician j 

prescribes fenfluramine and phentermine to many of her patients J 

with diet, exercise, and behavior-modification tricks. "I can givj 

all the drugs in the world, but if you sit behind your desk and i 

get out and take a walk, you're going to stay the same.' 

Nor do physicians expect that patients will keep the weight ■ 

ter they stop taking pills. They say obesity, like hypertension | 

abetes. must be treated with medication over the long term. 

don't expect that when you stop the treatment for high blood pres 

a patient's blood pressure won't go up again." says Loui | 

/ Stale I ni\ ersity obesity expert George Bray . 

Others are worried about the trend. The search for ; 
fective diet pill has been hampered by false hopes, i 
addictions, and deaths. From 1 893, when the first di^ 
was invented (thyroid extract, often combined with ; 
or strychnine, which raised the metabolism but sometj 
consumed muscle tissue in the process), the diet industry has pec 
everything from laxatives and insecticides to amphetamines. By 1 971 
United States was producing ten billion amphetamines a year, cai 
generations of housewives to suffer from the effects of speed: nerv| 
ness. anxiety, increased blood pressure, addiction, and. in the i 
cases, kidney failure, heart damage, and stroke. The allure of | 
ness is so powerful that the potential for drug abuse is alwav 
sent: already there is concern that the new medications are I 
prescribed to people who need to lose only 1 or 20 pounds, v| 
there is no evidence that their extra w eight poses any health 
"We know nothing about the health risks of long-term treatment 1 
these drugs." adds Wooley. who believes that given current obesity 1 1 
merits, fat people are better off left alone. 

It's unlikely that any of the drugs now being proposed or used I 
outright disastrous as those prescribed in the past. Still, some may I 
out to be fads, others harmful, and some helpful to a few patients. H«| 
a rundown on what is known now . 

Fenfluramine and phentermine, both of which act on brain cher 
that affect appetite, were developed as nonaddictive alternate es to | 
phetamines and abandoned after they failed to show long-term re 
They are back in favor because of recent studies show ing that, tak- l | 


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en together, they are more effective for weight loss and reducing blood 
cholesterol than when used alone. 

In a nine-month trial, University of Wisconsin obesity researcher 
Richard Atkinson gave the two drugs to 57 men and 506 women, who 
also went on a 1 ,200-calorie diet and an exercise program. Not only did 
the patients lose an average of 37 pounds, but 49 patients with high blood 
pressure saw it drop to normal, and 24 patients with high cholesterol 
brought their levels to an acceptable range. The results were widely pub- 
licized—headlines described the drug combination as a "one-two punch" 
to speed weight loss. 

Another study cited by enthusiasts was 
conducted by Michael Weintraub. a for- 
mer University of Rochester clinical phar- 
macologist who concluded that in con- 
junction with diet and exercise, the drugs 
are safe and effective for up to four years 
in patients at high risk of health complica- 
tions because of their weight. Some re- 
searchers, however, question how effective this combination really is. "These 
drugs only work in some people, and they work pretty modestly." says en- 
docrinologist Xavier Pi-Sunyer. director of the obesity research center at 
St. Luke's-Roosevelt Hospital in New York City. The patients in the Wein- 
traub study were quite heavy (30 to 80 percent over their ideal body weight). 
Not all the patients lost weight, and some gained pounds. Fifteen percent 
of the patients dropped out because they couldn't stand the side effects, 
which can include dizziness, anxiety, dry mouth, sleeplessness, and de- 
pression. The successful dieters— one-fourth of those who entered the study 
lost an average of only 10 percent of their body weight. For a 300-pound 
person, losing 30 pounds isn't that impressive. "It's hardly a magic bullet," 
says Pi-Sunyer. 

Other obesity experts say that since there are many causes of obesi- 
ty— none of them well understood— it's hard to predict who will benefit 
from drug treatment. "Fenfluramine and phentermine may be the most 
promising diet drugs to come along for some patients," says C. Wayne 
Callaway, an endocrinologist at George Washington University. "The 
challenge is to identify which ones." 

Even if the drugs are safe for longer-term use, they are meant to be 
used only by people who are so heavy that their weight endangers their 
health. But what that means is itself in dispute. The people most worried 
about their weight— and who may be tempted to try the drugs— are women 
who want to lose an extra 20 pounds for cosmetic reasons. Says Atkin- 
son, "It's a little scary to say everybody who's a little overweight ought to 
go take these things." 

Nevertheless, sales of both drugs are booming. And though the FDA 
(which is stricter on amphetamine-related drugs than on others) stipu- 
lates a limit of twelve weeks on prescriptions, many doctors are flouting 
the rules. "We know there's more prescribing." says Weintraub. who 
now works for the FDA. "Most of the state boards of medicine are tak- 
ing it easy and not chasing too many physicians." 

Dexfenfluramine, a chemical component of fenfluramine, is a more 
powerful appetite suppressant than its parent drug and has none of its 
depressive effects. Yet while dexfenfluramine has been used by millions 
of Europeans over the years, questions remain about its safety. 

Dexfenfluramine works by simultaneously triggering the release of 
the neurotransmitter serotonin and preventing it from being taken up by 
nerve-cell endings in the brain. No one understands exactly why, but this 
seems to help curb carbohydrate cravings and have a calming effect. Peo- 
ple taking the antidepressant Prozac, which also acts on serotonin, often 
lose weight at first. Richard Wurtman. the Massachusetts Institute of 
Technology neurologist who discovered that dexfenfluramine can be used 
for weight control, says the drug is "like a super Prozac." 

Now in the final stages of FDA approval, dexfenlluramine's trajec- 
tory may be halted by a recent study suggesting that the drug may cause 

"I can give you all the drugs 

in the world, but if you 

never take a walk, you're 

going to stay the same" 

brain damage. Johns Hopkins neurologist George Ricaurte show] 
monkeys given high doses of the drug for just four days sufferecj 
age to the nerve-cell endings in the brain that release serotonin— a 
this effect lasted for as long as a year and a half. The damage, ! 
caurte, is similar to that produced by the street drug MDMA, | 
known as Ecstasy— and people would take the diet drugs much mc 
quently, presumably, than that recreational drug. Ricaurte saj 
while it may be possible to prescribe a dose that is low enough i 
damage would occur, no one yet knows what a safe dose would bel 

that the line between safe and dan A 
is, according to the animal studiesj" 
ably very narrow. "We have a nee^ 
good appetite suppressant," says 1 
rte. "But when the animal data rai 
possibility of neurotoxicity in huA 
we have to be cautious." 

Wurtman, a major stockholder™ 
terneuron Pharmaceuticals, the am 
ny that has a new drug application for dexfenfluramine pending w« 
FDA, dismisses Ricaurte's findings. He says no one has ever setfl 
havioral changes in people who've taken the drug and argues th 
changes that Ricaurte saw are not evidence of toxicity since the I 
cells themselves are left intact. "This is superstition." he says. "We'i| 
not used to having a drug that works for obesity." 

There's no question that the drug causes long-term changes in the | 
however: the argument is over whether damaging a few nerve-cell ( 
is serious. Lewis S. Seiden. a neuropharmacologist at the Univer 
Chicago, suspects that it may take years for damaged nerve cells to < 
changes in people's behavior or functioning and that the effects i 
worse with age. "If this drug were going to treat a very serious disea 
as cancer or AIDS, then you take the risk." he says. "With obesity?] 
Instead of attacking appetite. Orlistat is meant to work after ya 
eaten— by interfering with the body's metabolism of fat. Though s| 
the experimental phase and years from FDA approval, Orlistat 1 
ready been hailed as a "dream drug," one that would allow us all to 1 
a low-fat diet without actually eating less fat. 

Under normal circumstances, fat in food is broken down by a J 
zyme that allows it to pass through the intestinal walls and into the b| 
stream, where it's either used as energy or sent along to convenient! 
age areas (e.g., the thighs). Orlistat interferes with that enzyme- 
pancreatic lipase— so that about one-third of the fat you take in pa] 
through the body undigested. 

It's an elegant idea, but there may be unpleasant side effects to bl 
ing fat. "If you have more fat in the large intestine, you'll have moij 
in the stool." says Pi-Sunyer. There may also be health risks: Robert 
el. a professor of medicine at the University of Colorado, speculatel 
cently that the increase in fat could heighten the risk of colon cancer. (J 
theory has it that fat in contact with colon cells explains the associa 
of high-fat diets with this cancer.) Another potential problem is that \«| 
fat isn't absorbed in the body, fat-soluble vitamins are lost. 

Finally, it's likely that patients on the drug would simply eat more ftl 
When people eat "fake fat" (which is now used in many foods. lik«l 
cream and cookies), they don't lose weight— they eat more to makil 
for the loss. The same thing would likely happen with fat blockers. | 
Georgetown's Callaway. "The fallacy here is the notion that people 
fat simply because they eat too much, and all you have to do is rai 
food intake or digestion of a certain nutrient." 

Over the millennia, the human body has learned to fight to hold ol 
its store of food. Callaway says; our survival has depended on it. "Tf | 
are always compensatory mechanisms." he says. 

Until we understand the underlying causes of obesity, dieting v J 
drugs is likely to be hit-and-miss. We're a long way from having a pill | 
will make us thin. • 



Who Says You Cari t 

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Itness notes 

By Deborah Pike 

Spot reducing revisited? 

A new study shows that pumping iron 
helps burn fat in specific areas of the 
thighs, perhaps overturning the 
notion that it's impossible to spot 
reduce. "We stumbled upon this 
[finding] by accident," says University 
of Florida at Gainesville exercise 
physiologist and researcher Linda 
Garzarella Her team was originally 
trying to find out how workout 
frequency affected gains in muscle 
strength. As it happened, the women 
who did the most weight lifting (three 
sets, three times a week) lost the most 
fat in the front of their thighs. (Strength 
gains were similar, however, regardless 
of the number of sets.) Garzarella says 
further research is necessary, but that 
a higher volume of training may 
be what's needed to show site- 
specific fat decreases. 


Making up your minerals 

Recent research shows that women 
exercisers often lack calcium, zinc, and 
iron. Part of the reason is diet- 
vegetarians or women on low-calorie diets 
(1.000 or fewer per day) may not be 
getting enough of these nutrients. But 
working out can also increase the loss 
of minerals— especially zinc- 
through sweat and/or 
increased urinary excretion. 
The best way to prevent 
deficiency is to eat foods 
rich in these minerals. Look 
for calcium in dairy products, 
broccoli, and kale; zinc in 
oysters, beef, and whole 
grains; and iron in liver, meat, 
fortified cereals, and dried 
beans. But if you're ^ 
concerned about your ^"j 
diet, try a multivitamin 
containing no more than 
the recommended daily 
allowance of any mineral. 

Majestic marathon 

*. Long-distance runners ready for a more exotic experience should consider the 

*•* Venice Marathon this October 9. Hailed as one of the most spectacular 

Yf courses in the world, the 26.2-mile race will begin in the 

mainland town of Stra, wind through a labyrinth of narrow 

streets and over waterways, and end shortly after runners 

cross the historic Grand Canal. A 



Equipment for the feet 

If sneakers are as important to you as your tennis racket or 

dumbbells, then keep an eye out for new shoes from Nike, K- 

Swiss, and Prince. Because runners need cushioning as they 

land on their heels and stability as their feet roll forward, 

Nike's new Air Max 2 ($125; above) has 

low air pressure in the center of the r 

heel and high pressure around the 

edges. When cross-training (including 

aerobics, weight lifting and M 

racquetball), where there's a lot of ▼ 

side-to-side movement, you need 

more stability, so the Air Trainer 

Max 2 ($115) has more air pressure 

in the rear foot. Tennis buffs who 

tend to drag their toes should check 

out K-Swiss's Kevlar Surava ($79.95; right), a 

sneaker with a toepiece made from the fiber used in 
bullet-resistant vests. Those who want customized arch 
support can try Prince's Arch Bridge System, featured 
in the Aspire shoe ($60; below). The sneaker comes 

with three arch cushions (low, medium, and 
• high), which can be snapped into the heel 
"^ frame. All are in stores now. 

^Fu. - 


portion of the proceeds from 

the marathon will go to 

UNICEF. Registration costs 

$50 and must be made by 

September 3. Four-day travel packages range from S 1 ,098 1 

$1,298 double occupancy (add about $ 1 00 more for single 

occupancy) and include airfare from New York, hotel, 

breakfast, and race registration fee. Call (800) 638- 

7640, ext. 1 12, or (800) 4444097 for information on 

hotel/air packages. For information about the 

marathon itself, call (39) 41-940-644. 

MIL-," Power pampering 

w^ For those who like a little 
^k indulgence between workouts: 
^ Butterfield Spa biking and 
I walking trips interspersed with 

sits to some of the world's 
greatest spas. A biking journey 
through the Aquitaine region of France (just 
north of the Pyrenees Mountains) involves a two-day stay at 
Eugenie-les-Bains. a spa famous for its hot springs and water 
treatments. The cycling excursion through New Mexico 
takes you to Ten Thousand Waves Japanese-style health spa, 
known for its outdoor hot tubs and whirlpool baths. In 
between spa stays, nights are spent at bed-and-breakfasts (in 
the United States) or chateaus and villas (in Europe). Each 
day fitness instructors are on hand for massages and stretch 
sessions. These weeklong trips start next month, and prices 
range from $2,625 for the New Mexico journey to $3,250 
for the French holiday. Call Butterfield & Robinson at 
(800) 678-1 147 for more information. 



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.Naomi Campbell 

leghan Douglas 

Unda Evangellsta 

ara Fitzgerald 

going to new lengths 

Conservative staples get glamorous this fall as 
fashion's favored hemline hits at the knee and 
hair's latest length is the above-shoulder bob 

Hemlines aren't the only things hovering at new and unexpect- 
ed lengths for fall. More than a few top models grabbed extra 
press when, in a season of less-than-sensible stilettos, they took 
to the runways sporting locks with a decidedly practical edge. The fa- 
vored cutoff point: just above the shoulder. But banish all thoughts of 
quintessential career-girl Mary Tyler Moore's stiff pageboy; today's 
work-worthy tresses are swingy and sleek. Hairstylist Garren, respon- 
sible for the variations on models Claudia, Meghan, Linda, and Nao- 
mi (above), finds the new length "upbeat and sexy." "It's not about the 
pageboy. It's softer and more modern than that-like Faye Dunaway 
in Bonnie and Clyde." Worn smooth, slightly tousled, flipped up, or 
turned under, it's also a testament to versatility. "The blunt bob is great 
for working women because it's low maintenance. You can blow it out 
and leave it alone," adds Garren. Even Hollywood— home to theatri- 
cal, over-the-top hair— is getting in on the act as stars opt for keep-it-sim- 
ple styles. Emma Thompson and Jodie Foster lend the look Oscar clout; 
Patricia Arquette is a platinum hit; and Sharon Stone shows off the 
bob's glamorous appeal.-WENDY schmid VOGUE BEAUTY ►! 90 

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uty that works 

the clean-scrubbed Gibson girl to today's sttoiWand 
executive, the working woman has changed fief look 
as much as her role. Vanessa Friedman 
tracks the evolution of the nine-to-five face 

When Jacqueline Kennedy Onassis died in May, one phrase seemed to trail her name 
like a coda: "She changed the way we saw the first lady." What was really meant, 
of course, was that, with her enormous eyes and girlish mouth, she changed the way 
we saw the face of the first lady (after decades of Eleanor Roosevelt, Bess Truman, and Mamie 
Eisenhower, frumpiness and first lady-hood seemed endemic to our nation). But then, it was 
96 1 , women who thought they were going to college to find a man decided that what uV> re- 
ally wanted to find was a job, and faces were changing all over. 

There are certain periods in history when women's faces— which is to say, wom« 
up. since the faces we show the world are the faces we have created: painted, powc 
penciled on -seem to undergo radical renovation. Between the Jazz Age and the 

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larine Hepburn's strong- ■ 
rowed sexiness, 1942 

Grace Kelly's archetypal 
ladylike beauty, 1954 

iomg gamine with Audrey 
Hepburn, 1956 

\ A 

A doe-eyed and demure 
Gloria Vanderbilt, c. 1958 

A new face wai 

needed, one th< 

would get an 

eyelash in the 

door without 

threatening tin 

established ord< 

Jackie Kennedy's girlish 
sophistication, 1960 

pression, Clara Bow's cupid mouth gave way to Marlene Dietrich's finely enj 
eyebrows; by the Second World War, the dramatic brow and aggressive ] 
Joan Crawford were the cosmetic emblems of choice. Ten years later the der 
ladylike face of Grace Kelly took over. By the seventies all things facial were ] 
hippy prim and proper, only to be papered over the next decade with the ; 
orous mask of the eighties executive: Think of Joan Collins as Dynasty tyc 
Alexis Carrington, and Georgette Mosbacher as herself. 

As fashion critic Kennedy Fraser wrote in The Fashionable Mind, "Apr. 
ance is a public statement." As women have moved from the ballroom to 1 
tory, and then on into the workplace and the boardroom, they've had to cha| 
their faces to fit their roles. (Just try to 
imagine Dee Dee Myers with Dietrich's 
face, arching a stiletto-thin eyebrow at a 
particularly juvenile question from the 
White House press corps; she wouldn't 
have to say much and she'd probably give 
them all aneurysms.) As women came into 
their own in the office, figuring out what 
kind of eyeliner to wear seemed almost as 
complicated as figuring out what kind of 
company represented a good credit risk. 

It wasn't always so difficult. At the turn 
of the century, roles were carefully delin- 
eated, and appearance emphasized the 

differences between the sexes: Women looked soft and cushiony, their che 
rounded, their lips curved. Gibson girls were just that— girls. Makeup (still mc 
ly questionable) was used only sparingly. Even in the twenties, when 
chopped their hair and began to paint their faces, their appearance was calc 
ed to play up their sexuality and their femininity: Lady Diana Cooper, one of 
most feted and admired women of her time, had skin powdered to a transluc 
sheen, a pursed red mouth, and kohl-smudged eyes. But then came World 1 
II, Johnny marched off to the trenches, and women marched off to the hithc 
male world of the factories. 

Femininity didn't work, literally. Greta Garbo's ethereal, shadowy eyes i 
curving, mysterious lips couldn't compete with the din and relentless labor < 
munitions plant; her Lady of the Camellias would have fainted at the sight \ 
time clock. Another face was needed, and women found one in the tough, [ 
gressive looks of Rosalind Russell and Joan Crawford, who as reporters and brj 
nesswomen in movies like His Girl Friday and Mildred Pierce illustrated wJ 
women in men's worlds looked like. Broad, dark red mouths and thick, sculp I 
brows advertised themselves from a distance like flares. Rosie was a riveter, a 
her makeup was riveted to her face. 

With the end of the war came the end of women in men's jobs and the end of r 
up's brief stint on factory lines. Cosmetics wouldn't resurface as a part of womej 
professional arsenal until the mid- 1 980s, when women would breach the rampartij 
the boardroom. In the meantime, women were shunted back to their traditional sph 
(in 1953 a national magazine listed the vital jobs for women as: "Mail Girl, Re 
tionist, Clerk, Typist, Office Machine Operator, Stenographer, Secretary, Telepfc 
Operator, and Salesgirl"), and their faces became correspondingly traditional. < 
Kelly, with her delicate, perfectly lipsticked mouth and well-groomed, retiring brc 
epitomized the non threatening fragility of these working women; their faces wl 
pered, in a ladylike soprano, "Just imagine me under a wedding veil. " ► ' 

The lost-waif look 
working women 
rejected. 1993 

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men's worlds is 

gone; men's 

worlds no longer 

exist. Neither does 

the need for the 


equivalent of 

chain mail 

\s it turned out. men had no trouble imagining it. but after a while women did. Girls 
t to college to get their 'M.R.S.'' degrees found themselves in the midst of a sexual 
social revolution. Betty Friedan published Vie Feminine Mystique in 1963, and sud- 
ly the perfect home life of Donna Reed didn*t seem so attractive anymore. Women 
e working on Capitol Hill, graduating from law school, and climbing the executive 
ier. A new face was needed, one that would get an eyelash in the door without threat- 
ig the established order. Barbra Streisand's Cleopatra look-heavy liquid eyeliner 
n nose to ear-wasn't the answer (after all, Cleopatra emasculated Marc Antony), 
lead women turned to the childish faces of Twiggy and Mia Farrow: big eyes made 
nd and humble by shadow and mascara, mouths almost invisible under pale lipstick. 
[ cheeks glowing through the new cream blush. It was the face of woman-as-student, 
I it won women mentors. 
Little girls grow up. When the children of 
naby Street looked around in the seventies, 
y found themselves amid the rubble of social 
ventions that reached the tops of their Cour- 
es boots. The presidency was in disgrace, the 
.nomy was in a slump, and faces ran the 
nut from Cheryl Tiegs's blue eye shadow to 
iiria Steinem's scrubbed minimalism to Liza 
melli's stagy Jazz Baby. Everyone was wear- 
jeans and T-shirts; hair was long or short no 
tter what your sex; gender as identity was out. 
luding in the workplace. 
JohnT. Molloy's Vie Woman's Dress for Suc- 
s Book was published in 1 978, and a genera- 
l of women bought the idea that if they want- 
to play men's games, they'd better don the 
form. The book stayed on the best-seller list 
months. Lips turned an innocuous coral, and 

s shrank back to their normal size. Faces were monotone, matching the omnipresent 
e blue suits with floppy bow ties. It was, says feminist writer Letty Cottin Pogrebin, 
ok that said, "You're going to take me seriously, or else. You're going to take me se- 
isly, and you're going to suffer, because I'm going to hide everything you used to like 
ook at." 

Women became a visible presence in eighties boardrooms (the most visible being 
's Joan Collins and Donna Mills, bright red lips gleaming, blue- and violet-shadowed 
s flashing). They were the updated equivalent of the Crawford/Russell fighter, and 

I lions tuned in every week. "It was the pivotal moment in the eighties," says writer 
nille Paglia. "Dynasty and Knots Landing allowed women to be killer executives and 
I be glamorous. But there was something very controlled about it." Glamour, as m 
forties, was used as a weapon. In Working Girl, Sigourney Weaver wielded it (she 
re fiery red lipstick, but ice water ran in her veins), and Melanie Griffith got it, trad- 
in her secretary's blue eye shadow for a more corporate taupe. Nancy Reagan, her 
ti hidden under a layer of foundation and her lips matched precisely to her "Reagan 
" suits, took power makeup to the extreme. 

Progress renders all weapons obsolete, however, and today the most famous executive 
men are the real ones; turn on your TV and the faces of a female attorney general, a fe- 
le surgeon general, and a female secretary of Health and Human Services jump out at 
i. The need to fight for recognition in men's worlds is gone; men's worlds, as such, no 
ger exist. Neither, thus, does the need for the cosmetic equivalent of chain mail— which 
'ays looked most appropriate with the gilded sartorial shackles of the eighties anyway, 
re is no blueprint for what the face of a working woman should look like in 1 994. 
>men everywhere are struggling to figure it out. (The most public of these struggles is 
lary Clinton's: As a working woman for the last 21 years, she has undergone an ardu- 
; evolution from un-made-up to made over.) The waif look, which dominated last year's 
hion pages, never even made it past the interview stage; innocent preteens don't work, 
Wall Street or anywhere else, and neither do their wide-eyed, trembling-lipped faces. 
in terms of dress, and the way we look, women are much freer than men," says 
grebin. "and we ought to revel in it." Perhaps we are beginning to. Battering-ram 
•ulder pads have given way to Armani's relaxed lines, and the face is beginning to 
ne out from behind its mask. Working women are even starting to look a little— 
e one say it?-sexy. • VOGUE BEAUTY ►198 

Everybody's talking 

about Talk 






Elizabeth Berg 

What do you talk 

about when you 

don't have forever? 

Fast, funny, sharp — Talk Before Sleep 
speaks straight to the heart of every 
woman who has ever traded late- 
night confessions with a best friend. 
Elizabeth Berg's brilliant novel is sure 
to be the most talked-about bestseller 
of the season. 

"Elizabeth Berg understands 
women. She is a tender, funny, 
grown-up writer who talks 
with us as much as to us." 

— Amy Bloom, author of 
Come to Me 

"Berg writes candidly about the 
bonds between women." 
— Publishers Weekly 

New from 
the acclaimed 
author of 
Durable Goods 


Reflecting a return to makeup and all its decorative effec 
stylish, meant-to-be-seen compacts are coming oul 
hiding — and giving an age-old beauty ritual fresh all 

odels wield them like pros backstage at fa 
shows (above right); Marilyn Monroe- 
aware of the ingredients for a glamoroul 
age— wasn't without hers on the set of the 1 952 drl 
Clash by Night (above left); even Cleopatra had on<] 
icately inscribed with hieroglyphics. For centuries wc 
have relied on the portable makeup compact to put ; 
best face forward— at times even risking the wrath of | 
ritanical society. In late-eighteenth-century Englanc 
use of cosmetics was considered so scandalous that] 
liament ruled it akin to witchcraft during Prohibition i 
pacts were often attached to garters and hidden ber 
a woman's dress to be retrieved only in private. But bi 
late twenties, brazen flappers reveled in the ability u| 
teLfreely powdering their noses in public. 
Considering that nothing is more intriguing thj 
woman confident enough to admit to a little artifice,; 
metics companies continue to make powder comp 
that beg to come out from under cover— from ShiseiJ 
smooth tortoise-like disk to Estee Lauder's after-ha 
miniature to Chanel's signature CC model. And won 
continue to covet them. Roselyn Gerson, founder ol| 
compact collectors' newsletter, Powder Puff (whidi I 
subscribers all over the globe), finds that "with the nd 
to glamour in fashion, women are showing their cJ 
pacts off more than ever. They're like pieces of jewel! 
Perhaps that's why Cartier has been making them sil 
the 1 890s and Elizabeth Arden commissioned jewj 
designer Robert Lee Morris to create one. "I think \ 
a woman pulls a compact out of her purse, it should 
as enchanting as possible," says Morris, "so I macl 
very sculptural and sensuous. It's a luxurious little tel 
Equally captivating: Carrier's one-of-a kind eighttl 
karat-gold "gift-wrapped" version— sure to turn upl 
many a wish list— WENDY SCHMID VOGUE BEAUTY M 



Shades EQ 
Color Gloss 

Imagine super natural color 
that actually improves 
hair's condition. 
For brilliant body 
and sensational shine. 
Why even think of 
using anything else? 

Shades EQ. 

Only from Redken. 

Only from your salon 



©Redken Laboratories. Inc. 1994. All rights reserved 34852 2/94 

Haircolor Redken Shades EQ Brandy. Bonfire. Papaya Colorist Teri Donnelly Hair Sid Curry 

Photographer. Jean Claude Maillard Makeup: Aliki Demetriades Styling: Robert Behar 









reality answers 

undercover work 

Designed primarily to cover and conceal, 
foundations now offer treatment benefits for older 
skin. But is it all just more "hope in a jar"? 


Calvin Klein made it fashionable with ad- 
vertisements featuring 40-something 
model Lisa Taylor; Donna Karan con- 
tinued the trend this fall sending Patti Hansen, 
Veruschka, and Beverly Johnson down her run- 
way. Now more and more cosmetics compa- 
nies are celebrating the over-30 set— and ad- 
dressing their makeup needs— with age-appro- 
priate ad campaigns and specialized foundations 
that go beyond offering just the traditional col- 
or and coverage. 

Foundation has always been the cornerstone 
of a well-polished look, but finding the right one 
can prove tricky at any age. Women wary of ac- 
centuating wrinkles have been known to shy 
away from it altogether. "The wrong founda- 
tion can actually make skin look older than it 
is," says Manhattan dermatologist Pat Wexler. 
"But this is happening less often as blends get 
lighter in texture and more natural in color." 
Making it easier for Asian and African-Ameri- 
can—as well as Caucasian— women to get a per- 
fect match, makeup artist Bobbi Brown creat- 




ed a line of yellow-based stick foun- 
dations ranging in shade from 1 to 1 
(Naomi Campbell wears 7). "Women 
over 35 don't need a lot of founda- 
tion," says Brown. "They mostly need 
moisture, a sense of evenness to the 
skin, and, of course, accurate color. 
That's why the stick formula is so popular— it's 
very emollient and can just be dotted and blend- 
ed as necessary." 

The current belief at most large cosmetics 
houses, however, is that women of this age group 
(the fastest-growing segment of the population) 
need more than the basics when it comes to foun- 
dation. Thus the latest formulations that attempt 
to improve as they enhance— boasting treatment 
ingredients from gamma-orizanol, a free-radi- 
cal-combating UV reflector (Clarins Satin Fin- 
ish Foundation) to tritisol, a tightening and firm- 
ing agent (Givenchy Concealing Foundation 
Hydrating Matte Finish) to silicon-encapsulat- 
ed Novaspheres that provide all-day moisturiz- 
ing (Prescriptives Makeup +). "Women are al- 



The face for Maybelline's Revitalizing line, model R<j 
Vela shows off great skin, past and present 

ways looking for simpler routines and I 
use fewer products, so it's very positiv 
treatment can now be incorporated into i 
up," says Wexler, who encourages her ] 
particularly those in New York— to wear| 
dation every day. "You need a buffer frc 
environment, and with these new founc 
you get a physical barrier, moisture, si 
and antioxidant benefits." 

To show its commitment to 35-and^ e | 
Maybelline developed Revitalizing Liquid ! 
Up and signed 4 1 -year-old model Rosie V| 
the face for the line. The foundation, like i 
in this category, purportedly reduces t 
pearance of fine lines through the use of lig 
fusing particles. Says Wexler. "It's impor 
remember that with cosmetics, the effed 
temporary. A foundation can't get rid of j 
ing lines, it can only make them less notic 
What's great about these products is thatl 
their sunscreens and free-radical scavengers J 
work to stop further damage from being d< I 
For a bit of "preventive medicine." try Clii| 
Soft Finish Makeup. Lancome Maquinu 
tra Naturel foundation. Chanel Teint Essd] 
Sheer Makeup, Estee Lauder Compact 1 
Double Performance Makeup, or Revlon| 
Defying Makeup. 

In a similar vein, Maybelline's Shine j 
Blemish Control Liquid Make-Up and 1 
Brown's new Essentials Oil-Free Found^ 
don't cure existing acne (a problem for wo 
of all ages) so much as help deter future bij 
outs. Even Manhattan dermatologist El 
Gendler, an admitted skeptic of treatment 
ented foundations, sees the logic in this appr 
"I would recommend an oil-free foundation 
oily, acne-prone skin— not to treat the cor 
but certainly to avoid exacerbating it." 

Wexler agrees. "The key is to start i 
eating people about skin care at a young 
Complexion permitting, why not ha, 
teenager use a product targeted at the 35-. 
older crowd and start getting the benefits 
ly on? The future of skin care and cosrm 
is preventing damage before it occurs. 
that case, these foundations appear to I 
all the bases covered— wend^ SCHMID 





agme how young you can look 
p to 45% reduction in the 
j-ance of wrinkles, and skin 
lis much as 35% firmer, too! 

•o the CHANEL counter today 
I the independent laboratory 
j proving this performance. 

MAfiNIN ^■^■■^ 













J L 







By Amy Astley 


Fuchsia formula while the strict 

sexy silhouette that Yves Saint Laurent 
pioneered in the 1970s provided inspiration for 
more than one hip young designer this fall, his 
makeup proved equally influential. "Saint 
Laurent made this wonderful Day-Glo-bright 
magenta lipstick in the seventies," says 
designer Anna Sui. "You couldn't get it in this 
country at the time, so if you went to Paris you 
had to stock up on the shade— and bring it 
back for your friends, of course." Available in 
the United States since 1981, that legendary 
lipstick, Yves Saint Laurent #19 Spirited 
Fuchsia (above right), continues to be a best- 
seller. In true Saint Laurent spirit, Sui asked 
makeup artist Francois Nars to paint models' 
mouths hot pink for her fall show, (above). 
"Color is making a comeback both in fashion 
and on the face," reports Nars, who further 
extended the rosy glow by dusting eyelids pink 
and blushing cheeks in vivid fuchsia right to 
the temples. In a season rife with classic red 
lips, count on neon— which packs an original 
punch— to continue making news. 

Skill ShOW When Michael 
Kors sent a bevy of short-skirt- 
ed, bare-legged beauties 
(right) tripping down his fall 
runway, he unwittingly un- 
leashed a torrent of com- 
mentary from fashion watch- 
ers. Some protested that 
even in the heat of summer 
it can be difficult for work- 
ing women to go sans stock- 
ings, while others couldn't imagine braving the autumn chill without those 
trusty (if predictable) opaque black tights. "I don't expect women in arctic 
environments to try it, but for early fall or in warmer climates, it's a sexy f 
look," says Kors, who wasn't alone in baring all. At Cabin Klein, mod- 
els in knee-length frocks also skipped stockings. If 
the nude notion takes hold, expect a run on self-tan- 
ners even after sunning season comes to a close. Two 
of the best: Perfect Colour Self-Tanning Spray SPF 
8 by Chanel, which provides sunscreen along with 
color, and Clarins Self Tanning Gel with aloe vera, 
which devotees claim creates one of the most be- 
lievable bronzes under the sun. i 


Leave it to globe- 
trekking designer 
Karl Lagerfeld to 

take the whole 
universe as 

Facing the future Although super 
model Linda Evangelista was whispered to be 
a possible successor to Paulina Porizkova as 
the "face" for Estee Lauder, lately talk has 
turned to model turned actress Uma Thurman, 
below left. It would be the most elegant role yet for 
the versatile Thurman, who's played a mob moll in 
Mad Dog and Glory and a large-thumbed hitch- 
hiker in Even Cowgirls Get the Blues. Whether or 
not fall brings a new face for Lauder, the company 
will ring in the season by proving an old theory. 
Recent clinical tests show that Fruition and Ad- 
vanced Night Repair— two tried-and-true 
products the company recommends for 
all skin types— are even more beneficial 
when used in conjunction with any / 
one of six select moisturizers from 
the Lauder line. Starting this 
month, in a campaign called the 
Power of 3, receive eight-day sam- 
ples of both products with the purchase 
of any moisturizer and see for yourself. ,v i t > ( 


inspiration for his 
newest women's 
fragrance. Sun Moon 
Stars, above, which will be 
launched worldwide next 
month. "I'd love to be the 
man on the moon." says 
Lagerfeld. who insteac 
settled for creating a 
"celestial" perfume tl" 
he deems "the key to 
future as mysterious, 
romantic, and unknot 1 
the galaxy." And not 
content to simply wish 
a star. Lagerfeld caug 
one of his own— actres 
Daryl Hannah, left, wh 
appears in the ad cam; 
(appropriately, director 
David Lynch has filmed 
sure-to-be-surreal TV sp< 
Says Lagerfeld. a self- 
professed fragrance frea 
"I love creating perfume- 
there's no size problem! 
Here's hoping this is a ca 
of one scent fits all. 



, ."' 






JIL SANDER, Avenue Montaigne, Paris. JIL SANDER, East Oak Street, Chicago. 

Louis Boston, Boston Linda Dresner, New York. Bergdorf Goodman, New York. Barneys New York, New York, Beverly Hills 

Neiman Marcus, Houston. I Magnin, Beverly Hills. Holt Renfrew, Vancouver. 

Vogue's Point of View 



ery weekday morning women all over America open their closets and let out a collective sigh: 
liat to wear to work? In the eighties there was too little choice, onl\ Dynasty-Yke suits thai tried 
equate the size of your shoulder pads with the amount of professional power you wielded. Last 
u- confusion reigned when short was suddenly passe, but no one really knew how to wear skirts 
it grazed the ground. As for those barely there slip dresses low fell for the suggestion that sim- 
tossing on a jacket would make such a flimsy look pass muster in the office. That's when smart 
men skirted the issue altogether, opting for pantsuits instead. 

I [ere we are. nearly midway into the nineties, and the directive finall) seems clear: No more flap- 
ig layers. No teensy floral prints. No garish gold chains. It's all about a classic, streamlined, con- 
enliook. This season, looking professional is equal parts what von wear and how you wear it. 
■ryone's dressing up a bit, tucking in last year's sloppy shirttails for a more grown-up style. "Look- 
pulled together is a definite confidence builder," sa\ s Marianne Diorio. vice president of pub- 
cations for Clinique. "It just doesn't make sense to go to the office in pigtails and baby doll 
;es." The key is to find a balance between acknowledging your femininity and looking absurd- 
lish: "We are women, and we shouldn't have to ignore that when we get dressed in the morn- 
ays Jennifer Maguire, a producer for ABC's Prime Time Live. 

>pily, what women want and what designers envision are in syne this season. The workable 
' are endless, from chic textured overcoats paired with sleeveless shifts to a multitude of 
uring sleek pants or feminine A-line skirts. Adding to the assortment: new skirt lengths, 
ones (to the knee or even slightly below) grabbing the most attention. Calvin Klein -the 
jal designer for the American working woman and the biggest proponent of the new 
these longer skirts as "glamorous and womanly," especially for younger customers 
hange from the mini. But Klein (who's profiled on page 234) is the first to admit that 
ten won't want to relinquish their sexy shorter skirts. "Women aren't threatened by 
" he says. "They're smart enough to know what looks best on them and to shorten 
nat looks right." 
bfessional is not synonymous with masculine, the workplace is also becoming home to 
..mine touches as red lips and nails, skinny, waist-cinching belts, unpretentious jewelry, 
Rlorful handbags. Other rather racy elements suddenly look chic as well, particularly high 
Ts to replace last season's clunky boots) and sheer stockings. (Push all those thick, black tights 
the back of the drawer for the time being.) 

Of course, ladylike dressing is not a new idea. The same refined glamour that designers are call- 
l for now was epitomized 30 years ago by Jacqueline Kennedy Onassis (to whom we pay tribute 
page 246). It's no accident that her name comes to mind whene\ er anyone thinks of an effortless 
auty: "The best thing about her," says Valentino, "is that she wore her clothes without ceremo- 
." Fashion has gone a long way— and come back again since the era of the pillbox hat, but the 
mer first lady's brand of impeccable chic will never go out of style. Vs Hubert de Givenchy (who 
essed Kennedy Onassis for many years) recalls: "She never wore anything extravagant, but her 
»te was always supreme." 



om double-breasted mohair to belteaSi^eed, 

e new overcoats are as diverse as they a/wersaf/'/e. 

je common denominator: the accompanying 

fie shift dress to showcase this season's / 

eer leg and towering high heel. 

lotographed by Arthur Elgort 




White heat: An alabaster wool 
coat worn with a short-sleeved 
Empire waist dress in black 
silk organza. Coat (about 
$ 1 ,500) and dress (about $745) 
by Marc Jacobs. Neiman Marcus, 
Beverly Hills; I. Magnin. Dress 
also at Bloomingdale's. Details, 
more stores, see In This Issue. 
Fashion Editor: Brana Wolf 


top coats 




The wild and the woolly, this 
page: The season's favorite 
fuzzy fabric, mohair, slipped 
over a vinyl sleeveless dress. 
Ozbek coat, about $770. 
Untitled, NYC; L'Animale, 
Englewood NJ. Dress, Vogue 
Pattern #899 1 . Fabric from 
B & J Fabrics, NYC. Adding 
a soft, feminine blush: 
Prescriptives Rouge Cheek 
Color, opposite page: A 
cropped version of the classic 
camel-hair coat tames the 
sleeveless velvet leopard 
shift underneath. Coat (about 
$1,1 75) and dress (about 
$475) by Michael Kors. 
Henri Bendel; Georgina, 
Hewlett NY; Marissa 
Collections, Naples FL. 
Details, pattern information, 
see In This Issue. 

top coats 

ckered tweed gets into the 
age cut to the knee 
matched with stilettos. 
; d coat by Karl Lagerfeld for 
nel. Chanel Boutique, NYC, 
3rly Hills; Saks Fifth Avenue, 
nta. opposite page: The 
i on the street— a sleeveless 
iair dress punctuated by a 
t sharp black car coat, 
e Klein by Richard Tyler wool 

about SI 215. Barneys 
v York- Saks Fifth Avenue; 
nan Marcus; Nordstrom, Los 
eles. Empire waist dress 
ill Stuart, about S225. 
gdorf Goodman; Henri 
del Fred Segal Hoops, Los 
eles. Details, more stores, 
In This Issue. 








top coats 



Every well-dressed commuter 
needs a coat cut to move, this 
page: A bold lapel and cuffs 
lend polish to an espresso- 
colored overcoat matched 
with an A-line jumper dress 
with crisscross back straps. 
Wool coat (about $1,510) 
and wool crepe dress (about 
$ 1 ,080) by Jil Sander. Coat 
at Bergdorf Goodman; Janet 
Brown, Port Washington NY. 
Dress at Jil Sander, Chicago. 
OPPOSITE page: Mixing business 
and pleasure in a body 
skimming black wool peacoat 
by Dolce & Gabbana. 
Barneys New York; Bagutta, 
SoHo NYC; Ultimo, Chicago; 
Neiman Marcus. Details, 
more stores, see In This Issue. 




.■/ear influence may 
out the message 
-eminine. '- 5 PAGE: 
Jack, softly shaped 
•e with plenty of 

Coat by Nic Janik, 
'40. Neiman 
.os Angeles; Maud 
= Beverly Hills. 
3E: Staying on 
ound in double- 
□ sted wool. Giorgio 
ni coat about $1,545) 
eneck bodysuit 
^60 . Giorgio 
cni Boutique, NYC; 
man Marcus; I. Magnin. 

ory: hair, Thomas 
Kiverfor Bumble and 
makeup, Sonia 
huk for Aveda. Details, 
ores see In This Issue. 

top coat: 






Designers are making fall headlines 
by giving a stylish edge to the staple or 

~ the working woman's wardrobe. 

fi The news: to-the-knee skirts cut 

■ into feminine A-lines and paired with 

curve-conscious, fitted jackets to form suits 

chic enough for a modern-day Lois Lane. 

Photographed by Ellen Von Unwerth 


It's best known for its power and 

practicality, but the suit can also look 

seriously sexy— especially when kicked 

back in a loose-weave wool and worn 

with sheer stockings and stiletto-heeled 

pumps. Karl Lagerfeld for Chanel shirt 

about $71 5) and suit. Chanel Boutique, 

NYC. Suit also at Chanel Boutique, 

Beverly Hills; Nordstrom, Seattle. 

Details, more stores, see In This Issue. 

Fashion Editor: Grace Coddington 

\he scoop 

■rtil^l^ 1 *"^ 

>5 **v_ 

teg &*.% 






Withstandin g fashi on's seasonal revolving 
door, the suit is^Keenduring symbol of no- 
nonsense authority. Making this one stand 
out in the crowd: the subtly curved A-line skirt 
and not-strictly-business sheer shirt. Isaac 
Mizrahi jacket (about $815) and skirt (about 
$3 1 5). Bergdorf Goodman; A'maree's, 
Newport Beach CA. Jacket also at Dayton's, 
Minneapolis. Marc Jacobs shirt, about $725. 
Nan Duskin, Philadelphia, Baltimore. 

- I 


ittoned-up styling adds 
rture— without eighties- 
3 wer-suit stiffness— to a 
|y jacket. Ralph Lauren 
iollection jacket (about 
$925) and skirt (about 
5). Polo/Ralph Lauren, 
YC; Saks Fifth Avenue. 
Jews flash: for picture- 
perfect lashes, Safari 
ite Response Mascara 
■ft Black. Details, more 
ores, see In This Issue. 








Designers can'tSm 
editing the suit'sSE 
basic components. Case 
in point: Giorgio.Armani 
makes the skirl a knee- 
length wrap and extern 
the jacket to m^^H 
Suit, about 1 1,91 ft 
fifth Avenuje, NVO 
rew of Cpnada. 
AP^fcltfciter, about 

i i4 


• -—■ 


-■S^-* V>t*t* &'■*<£•-*-. -.- ;- -"•*» r 

; ^:v 






Z, H 

: ■> 




'• *'.' . 

the scoop gn suits 

a a 


i e 



a a 

* • 1 

A Q 

$ 5 

& t) 

ft Ca 

t c 

t ^ 


The menswear influence 

watered down: Worn 

with ladylike pearls and 

pumps, a gray-and-white 

pinstripe shows its feminine 

side. Mark Eisen jacket 

(about $380) and skirt 

(about $ 1 60). Barneys New 

York; Henri Bendel; Neiman 

Marcus, San Francisco. 

Details, see In This Issue. 







■'--''" : 

What to wear on the U 

a fast-breaking sto; 

cut-to-move flared skill 

a short, fitted jacket in pn 

white wool. A.P.C. j. 

(about $385) and skirt (c 


•|Tt Mr mr (A .Wf 

"" " the scoop on suit 

""~ , v 

'tt-CMiu MTU 




ought-provoking style: 
ne constructed, double- 
reasted jacket in a fluid 
fabrication dispels the 
uit's too-serious image, 
onna Karan New York 
jacket (about $1,400) 

eli and skirt (about $450). 

stiy gdorf Goodman; Saks 

jor Fifth Avenue, NYC; 

ipn ordstrom, Sacramento. 

^ i this story: hair, Ward; 

itjoceup, Mary Greenwell. 

C,l etails, see In This Issue. 

•• • 


| I; 






p away last year's loose layers 
d unveil what's essential 
season: streamlined jackets 
J skirts that enhance 
bodies beneath them, 
convey a sophisticated 
ssage, black says it best- 
ding a sexy edge 
Dractical pieces that work by 
yand relax by night 

jit shapes up for fall, THIS PAGE: The current favored 
lette consists of a subtly fitted jacket paired with a 
' A-line skirt. Calvin Klein jacket (about $780) and 
about $340). Neiman Marcus. Jacket also at 
Jorf Goodman. Skirt also at Nordstrom, McClean VA. 
>ITE PAGE: Single-button tuxedo styling lends refinement 
imple wool jacket. Giorgio Armani pantsuit, about 
JO. Bergdorf Goodman; Giorgio Armani, NYC, 
>n, Beverly Hills. Details, more stores, see In This Issue. 

Dn Editor: Camilla Nickerson 
■grapher: Juergen Teller 

A show of faux: Fake I 
making real news this 
season, turning up he 
the collar and cuffs of | 
traditional double-bre 
jacket. Anne Klein by ) 
Richard Tyler jacket) 
$995) and skirt (aboj 
$475). Barneys Ne 
Saks Fifth Avenue; An| 
Klein Boutique, Manf 
NY; Neiman Marcus I 

■EH f~b& 

strictly speaking . . I 



Jash of color and a thigh-high 
jrt take the suit out of the 
jrking world. A sexy revelation: 
! push-up bra, fall's ubiquitous 
herwear-as-outerwear piece, 
ilph Lauren jacket (about 
|>60) and skirt (about $270). 

]dorf Goodman; 

Dmingdale's; Polo/Ralph 
jren, Chicago. Christian Dior 

. Details, see In This Issue. 


Marc Jacobs's tuxedo jacket 
may be man-tailored in style, 
but it's definitely feminine in 
character-especially when 
worn with a made-to-show bra. 
Jacket (about $1,380), skirt 
(about $790), and bra (about 
$265). Ultimo, Chicago; 
Neiman Marcus, Beverly Hills. 

strictly speaking.. 





i * 

ay of textures— matte 
] against shiny sati ri- 
tes a lively interpretation 
e suit. Equally liberating: 

ee-flowing cut of a knee- 
ing skirt. Donna Karan 
v York jacket (about 
1 50) and skirt (about 
!5). Aversa, Milwaukee; 
dstrom, McClean VA, 

amento CA. For soft, 

ted skin: Donna Karan 
vYork Cashmere Body 

n. In this story: hair, 

loatToni &Guy; 

eup, Dick Page. Details, 
stores, see In This Issue. 






Clearly, this is Calvin Klein 's moment, lie has triumphed 

as the womenswear and mens wear designer of the year, 

rescued his company from financial jeopardy, 

sold his controversial underwear line for a fortune, 

and is ready to launch yet another megafragrance. 

But JULIA RE HI) finds that, far from resting on his laurels, 

he s about to take fashion in a whole new direction. 

Portraits by Annie Leibovitz 

The quiet life: Calvin Klein enjoys 

a relaxing moment in East Hampton 

on his dock on Georgica Pond. 

The boat, a Barnstable Cat, was 

a gift from his wife, Kelly. 

Sittings Editor: Grace Coddington 

alvin's clean sweep 

I am sitting in a wicker love seat on Calvin Klein's East 
Hampton porch listening to one of the world's most suc- 
cessful designers tell me why he thinks his current collec- 
tion, the slip dresses and skirts he sent down the runway at 
mid-knee, are sexy. Klein, sporting a sweatshirt and warm- 
up pants and a two-day-old beard, is on the love seat, too. 
His legs are curled up beneath him, and he is looking 
straight at me, very sincere, telling me how he was inspired by his fa- 
vorite model of the moment, Kate Moss, and the vintage knee-length 
dresses she buys in thrift shops, and that the length is not dated but 
"young" and "fresh," since the Kate Mosses of the world weren't yet 
born the last time the length was in fashion, and that the other models 
put the clothes on and looked in the mirror and said, "Totally cool." 
I, who have not lowered my hems since fourth grade and remem- 
ber when Mamie Eisenhower was alive, am not buying this. But then 
he tells me that "there's something very sexy about suddenly seeing 
more of the leg covered up, and then seeing the leg in sheer hose or 
naked, as opposed to very short skirts with tights in a matching color. 
Now all of a sudden you're seeing flesh, and you're seeing— you know, 
it's more covered up, but I imagine women sitting in a certain way 
where you know you're gonna see more leg." And I do see. I see those 
intelligent flirts like Claudette Colbert and Myrna Loy in exactly the 
getups he's talking about, and I want to practice sitting in that 'cer- 
tain way," and I can't wait to pull one of those dresses over my head 
and down to the middle of my knees. 

Calvin has shaken things up again. He was a nervous wreck right 
up until the show: His own market people resisted him every step of 
the way, and he knew some critics would call it frumpy. Nonetheless, 
"we plowed through it," says Polly Hamilton, the freelance stylist who 
started out putting together his runway shows last year and who now 
serves as a strong voice in the Klein creative mix. "He felt the time was 
right. Things had been very long and very deconstructed, and then for 
summer things had been very, very short. I thought it was really push- 
ing the edge toward something more timely." 

"After the show everybody said, 'Why did he do it? The length 
is dowdy.' And a lot of people told him that," says Dawn Mello. 
president of Bergdorf Goodman. "But by the time the clothes are 
delivered to the stores, that length will have been shown at the cou- 
ture. It will have happened." 

"I can tell you." intoned a fashion editor as the models made their 
way down the runway. "Next season everybody will be doing this." 

Everybody always does what Calvin does. He made tighter jeans 
and charged twice as much, sold 200,000 pairs the first week, and in- 
spired imitators from Sergio Valente to Gloria Vanderbilt. He decid- 
ed it would be sexy to put women into men's briefs and forced Jockey 
to play catch-up with its own product. He sent favorite seventies mod- 
els Patti Hansen and Rosie Vela down his runway last season, and with- 
in a year they were appearing in ads for major cosmetics companies 
and on the editorial pages of almost every fashion magazine in the coun- 
try. More than anything, he knows fashion is about change, and with 
barely a flick of the wrist and about four inches, he has moved fashion 
another step forward. He has, as he likes to say, "refreshed the state- 
ment" and created yet another in the ongoing series of Calvin Klein 
controversies, from Brooke Shiclds's derriere to Marky Mark's crotch. 
"The surprise," he says with some bemusement. "is that people al- 
ways said my advertising was controversial and my clothes were clas- 
sic. Now they're saying the clothes are controversial." Either way, it's 
the controversy, the edginess surrounding each decision -about the 
clothes, about the ads, about the models— that keep the image fresh and 
the public fascinated. "Nothing is decided on in any aspect of this firm 
that doesn't shake things up." says Klein's longtime creative director. 
Zack Carr. "That energy both excites and upsets people. It's passion." 
For the last 25 years. Calvin Klein's passion has been a driving force 

behind American fashion. It has defined a uniquely American i 
created entire industries, and changed the face of American ad\ 
ing. Through it all. the clothes have never been anything less thanl 
oughly modern and easy and timeless. And in this new age of I 
where once again restraint is an ideal and the low-key smoothne 
crooners like Tony Bennett has made a comeback, Calvin, the kil 
effortless chic, is hotter than ever. At a time in his career when 
designers play it safe, rip off their own collections, and collect per 
royalties, he is still out there pushing the envelope. 

Once again, Klein's timing could not be better. Though he cot 
have predicted it, in the wake of Jackie Onassis's death, the publij 
been inundated with images of Jackie in skirts to the knee, and . 
ie in dresses with narrow little jackets the same dresses and jaJ 
Calvin showed. Dawn Mello says that for the first time in y^ 
Bergdorfs is selling dresses like crazy. "The whole world is saj in<. 
was when women were really elegant." 

Not only does he know what to sell and when to sell it. he I 
to start selling even more stuff to a lot more people. In May he pJ 
off a major coup when he lured Gabriella Forte away from the Cj 
gio Armani Corp. to be his president and chief operating officer f 
a mandate to take Calvin Klein global, a strategy that includes i 
stantial increase in the number of freestanding Calvin Klein storl 
Europe and introduces them to the Far East. Forte, an enormd 
well-regarded businesswoman who orchestrated the Armani e* 
sion in the United States and Japan, was, according to Women 'a II 
Daily, consulted by Armani himself "on every decision regardinl 
tailing, marketing, press, and special events." In addition, Klein i| 
gotiating for a site on Madison Avenue for a long-awaited Calvin 1 
flagship store, "so important," he says, "because you can't see e^j 
thing I'm doing for people and how the things relate unless ther^ 
store that has it all." 

As of the fall of 1995, "all" will include the Calvin Klein Home 
lection featuring everything from sheets and towels to knives and f< | 
He is currently revamping all the ad campaigns for the Calvin K| 
fragrances, and in October he'll launch a new one, CK One. the \ 
fragrance of hisCK Calvin Klein label. A "democratic" eau dc| 
lette for both m?n and women, its most expensive bottle will cost 
$50 and will be available to the masses in retail outlets ranging f | 
Bloomingdale's to Tower Records. 

It has already been the year of Calvin. In November the Cour 
Fashion Designers of America named him the womenswear | 
menswear designer of the year, the first time both awards havfl 1 
given to one person. He decided to face the possible negative fee 
from a recent sensationalist book about his sex life by going on j 
King Live! only to find that callers were far more interested in | 
sizes and hem lengths and even his opinion on selling to South , 
("People really don't care about my life." he marvels. "They care i 
clothes.") He has sold his men's underwear business and licens 
menswear accessories to the Warnaco Group for $62.5 million, i 
eluding royalties, and is currently seeking a buyer for his CK jeans j 
(negotiations with Fruit of the Loom recently fell through), 
structuring will free him to concentrate on and strengthen the ' 
Klein Collection label while reaping considerable licensing incor 
timated at between $45 million and $50 million for 1 994, up from | 
million the year before. Most significant, he has made a remark 
business comeback from 1992, when he and partner Barry Schv 
decided to purchase their jeans license at about the same time the 
signer-jeans market dive-bombed. The company ended up with 
million in junk-bond debt and was bailed out by Klein's friend, bil 
aire entertainment mogul David Geffen. However, in June 1 l 
Citibank, in a strong vote of confidence reflecting the compam - 
cent performance, lent Klein the money to buy back Geffen's 1 
which he did. netting Geffen a handsome profit. 



J-back style: Klein eases 
at home in East Hampton. 
lis story: grooming, Howard 
ller for Roger Thompson at 
neys New York. 








1 It must be said that Calvin Klein learns from his experiences. When 
fc; returned from Hazelden, the Minnesota treatment center where 
fe kicked his addiction to booze and Valium, he said he learned to let 
3 of envy, self-doubt, and "the terrible anger." The clothes became 
imantic. and the fragrance Eternity was born. Now he says he has 
jet go of trying to control everything." So he has hired the best in the 
easiness and is grateful for the liberation. "I am not a businessman, 
ere was a time when it was popular to say designers have to be busi- 

issmen But I'm growing up. you know? I am not trying to be- 

ve like a child. I've really learned what I do best is creative stuff. And 
m ready to have a businesswoman run the company." 
The heart of the "creative stuff is his almost preternatural abili- 
to know what consumers want before they know they want it, an 
ility that is by now legendary even in the hinterlands. "I feel the 
food for these clothes, and it happens precisely at the time they are 
karketed by you," said Lamar from Southern Shores, North Car- 
ina, who called in to speak to Calvin in May when he appeared on 
\arry King Live! Lamar's question was "How do you set the tone- 
hood for these clothes?" And Calvin replied, not very interestingly. 
kat women tell him what they want and that "there's always this in- 
resting thing about projecting into the future what you think peo- 
le will want and what you feel." 
Yes. but how does he feel it and think it so unerringly every time? 
Polly Hamilton says it's because "he has no real preconceived no- 
ns. He listens to people, and he makes it easy for them to tell him 

what they think." Zack Carr goes so far as to attribute it to his birth 
sign. "He's a Scorpio. And so is Kelly. And so am I. We create dra- 
ma, we create change. There is always enthusiasm for another ingre- 
dient, another way of looking at something." And Neil Kraft, who 
heads Klein's in-house ad agency, says it's because "he's like this 
amazing sponge. He knows how to take it all in and spit it out in a 
way that works." 

Last fall Calvin went to Paris and took in high fashion from the 
front rows of all the shows from Chanel to Comme des Garcons. He 
is sometimes accused of ripping off Armani, and his roots certainly lie 
in the American sportswear tradition of Claire McCardell and Anne 
Klein and the easy chic of Halston. And he is a sponge. But the end 
product is always unmistakably Calvin Klein, with its muted colors, 
clean lines, and consistently sexy cut. 

"I have a gift," says Calvin. "I get an emotional reaction. How do I 
know this photograph or this ad is gonna be good? Because my heart 
starts racing. And the clothes? I mean, it's an emotional reaction that be- 
comes physical. And I know: Oh, my God, this is great. I just know it." 

He says that one day, after the success of his men's underwear line, he 
asked, "Can we make these things for women? And wouldn't it be cool 
to make them really sexy? And we started to fool around with it, and we 
did the fittings. And I remember looking at Kelly and saying, 'Am I crazy, 
or is this the sexiest thing you have ever seen?' And it was just a string prac- 
tically, with an elastic waistband. And Kelly said, 'No, you're not crazy.' 
And the fitting model said, "This is great.' And somehow it came about." 



dvin's clean sweep 

Changing shift: Demonstrating 
the logical evolution of the short 
summer dress, Klein creates 
a knee-length version in rich wool. 
Dress, about $650. Lord & Taylor. 
Fashion Editor: Grace Coddington 
Photographer: Albert Watson 

ten aren't trying to look 
•ful or look like men 
jre," says Klein. To that 
e cuts a work-worthy 
uit into a feminine 
shape. Jacket (about 
and skirt (about $345). 
enfrew of Canada, 
s, see In This Issue. 

"There's nothing 

glamorous about 

just how short 

your skirt can be' 

Cabin Klein 


Calvin's clean sweep 

He says he had the genius stroke about the middle-aged models af- 
ter a dinner with Lisa Taylor. He had taken her out for her thirtieth 
birthday, and he hadn't seen her in years, and she called and said she 
was in New York and she'd just turned 40. "And I'm looking at her, 
thinking. My God, you know, how is it that I never noticed before 
how amazing women are at the age of 40? And 1. 1 always used to 
have a thing for her. She's so sexy. And I thought, Jesus, she's gotten 
even sexier because now she's like a real woman, she's no kid. And I 
sat there and said. Lisa, I know this is the last thing on your mind, 
but would you consider taking some pictures?' And it started with 
that, and I got Steven Meisel to photograph her. And then I got so 
angry with myself. Like, why 
didn't I see this before?" 

Before appearing in his ad last 
year, Lisa Taylor" wore Calvin 
Klein in possibly the most fa- 
mous and important fashion 
photograph of the 1970s. It is by 
Helmut Newton, and she is sit- 
ting on a sofa absently playing 
with her hair, and her legs are 
spread apart, and she is openly, 
offhandedly sizing Up the shirt- 
less man standing before her. She 
has on flat mules and an easy 
blouse and skirt, and Calvin's 
look was so modern in 1975 that 
that picture could easily have 
been shot today. But it was the 
modern attitude that shocked so 
many people. "The frankly ap- 
praising glance of this liberated 
woman who feels sure of herself 
toward men makes this one of 
the most suggestive pictures I 
think Vogue has ever published," 
says Vogues former editorial di- 
rector Alexander Liberman. And 
it was that attitude that required 
Calvin Klein clothes. 

In an era when women were 
coming into their own, he un- 
derstood them. "He knew that if 
women are more active, more 
pressured, more competitive, 
and probably more aggressive, 
the clothes cannot restrict you." 
says Zack Carr. "They are, hopefully, actually, to help you get along. 
They are also se\\ in that they allow you to express your own sexuali- 
ty. There is a kind of Zen that runs through our clothes, of self-accep- 
tance, of feeling secure. Instead of the feeling that you can hide behind 
your clothes, these clothes are an extension." 

Nearly 20 years after the photograph was published, Calvin Klein 
has found that European women want the same freedom, that thej 
have outgrown the ideal of being "decorative" or "fussy" or "pretty 
for the man." Now, he says, "they want to dress like American women. 
They want to wear flats. And so what I'm doing, my style, which is about 
purity and simplicity and less is more, has appeal all over the world." 
We've been talking for almost two hours at this point, and the only 
time he's veered off the subject of fashion was to mention Jackie Chas- 
sis's recent death, which doesn't count because she was about fashion 
too. At the beginning he told me he thinks about clothes "all the time." 
and now I realize that this man really lives and breathes what he does. 

and that just as all the people around him have told me, he is fo 
trying to put fashion in the context of the world he lives in. in ; 
rigorous way. And he knows that fashion is where you find it; it j 
just the sexy suit or the perfect coat that he delivers so well. 

"The change aspect of fashion is what is really so exciting. I 
it's fun. When I started doing the underwear, for example, fc 
little money men could suddenly have some fun. I mean, yoij 
take something that everyone has always thought of as being noi| 
interesting and just something that you need and turn it into : 
thing that could be fun. that could be sexy, that could be diffe! 
There are so main ideas and styles and approaches you can ; 

to something basic. And f( 
a lot of money, people ca 
enjoyment out of it. Fc 
should be like that. 

"And then for a lot of r 
if you've worked hard | 
you're wealthy enough to ; 
the clothes, then you can ha^j 
other kind of fun. which is 
luxurious and very rarefie 
that's fun to work toward. 
"From the very beginr 
sa\ s Zack Carr. "Cab 
clothes were not fashion 
certain economic group or | 
tain shape or a certain sc 
elon. They are clothes for < 
one. They are very democJ 
but they are still chic, the;' 
have ideals. I think that's ; 
ly profound thing." 

He's also very conscious i 
issuing pronouncements! 
ting rules. "He doesn't eve] 
tate." says Polly Hamiltoi J 
points out to me. for instanc 
he has always shipped clot 
stores at mictknee. and the 
pie who love short will con! 
to cut them off. even thou] 
not what he describes as I 
"ideal at the moment. It'si 
easj I put the clothes on the 
waj . and I do hair and ma 
and a shoe with the dress < 
suit or whatever it is. And I'r 
ing this is what I think is the newest of me and the most interesting.] 
you don't have to wear it quite like that if you don't want to. I mea 
a wonderful thing. People have choices." 

Indeed, as soon as I'm coin inced that 1 will die if I don't fill my 
et with slinky dresses to mid-knee. I see a runway shot of a black 
suit from the CK Calvin Klein line whose skirt barely covers the i 
el's crotch, and I think. \ er\ sexj . \ er> Barbarella and not M\ ma 
at all. And 1 also think, very smart, because he knows that wt 
sometimes want both. "What I've discovered is that [the womet 
buy from two different collections] are not realK two different | 
pie." he says. "The same person could be wearing both. It's abow 
ferent moods. There's a lot of crossover. I think that's modern."! 
Klein's latest exercise in democracy is CK One. He calls it the ' f 
perfume." inspired by those big bottles of light men's fragrance 
"you can just spill on. It's what I've always liked from the very I 
ning," he sa\ s. and apparently so have women. "It comes from 

Last year he fashioned the slip dress that no woman could 

ive without. This season Klein does it again-with a straight sheath in 

Chinese-print plum silk. Dress, about $750. Ron Herman/Fred 

Segal Melrose, Los Angeles; I. Magnin. 


's credo: Design clothes 
nhance, rather than 
I'd from, the woman who 
s them. A perfect 
iple-an understated 
I overcoat that's cropped 
knee. Coat, about 
50. The Calvin Klein Store, 
s. The equally understated 
3 nce: Obsession by 
n Klein. In this story: hair, 
as McKiver for Bumble 
■umble; makeup, 
Greenwell. Details, 
' i This Issue. 

"It's about ease " 

says Klein, "not 

about looking like 

you spent an hour 

in your closet' 

nis sexy secondary line, CK, Calvin 
his signature timeless shapes into alluring, affordable pieces- 
like the slip dress, slim skirt, and mohair sweater- 
for the young (or young at heart) 


o a classic V neck sweater. 
»ater, about 


alvin's flip side 

Keeping it relaxed: 
Klein's approach to 
evening dressing takes 
shape in a shimmery 
silk slip, accentuated here 
with equally slick lips 
and nails. CK Calvin Klein 
dress, about $195. 
Saks Fifth Avenue. 
In this story: hair, Ward; 
makeup, MaryGreenwell. 
Details, see In This Issue. 

'This collection is not about age/' s 

^Ivin Klein. "It's about an attitude. 



The Unforsrettabl 

Despite ihe Inpeand the headlines, 
the magazine eo\ers and gossip colui 
Jacqueline kenned) Onassis 
managed lo remain a private woman. 
Yet her death was experienced 
with an inlensih of emotion 
that took main of us by surprise 4 . 
VRTi; l > >l\i;\\i:i\ examines 
sir hold ihal the former 
.irsl lad\ retained on ihree 
-eneralions ol' Vmcrieans 


Family life: Jacqueline Kennedy 
with John F. Kennedy, their 
children, Caroline (age five) and 
John, Jr. (age two), and some of 
their canine companions on 
Squaw Island, Massachusetts, 
August 14, 1963. (Mrs. Kennedy 
had recently returned home from 
the hospital after the death of 
their infant son Patrick.) 

People were told to move along briskly the morn- 
ing after Jacqueline Kennedy Onassis died. By 
ten o'clock that Friday in late May, hundreds of 
mourners from all over the city and the suburbs 
had gathered outside her grand apartment build- 
ing on Fifth Avenue. It was known in New York 
that Mrs. Kennedy, as she would remain forev- 
er in the national memory, lived a few blocks 
north of the Metropolitan Museum, across from 
Central Park; the traffic was backed up in every direction. Sound trucks 
from the networks were forced to park a block away. "My God, there 
are reporters here from China and Japan," the UPI man said as he 
scanned the crowd. A woman with teary eyes worked the line with her 
toy Pomeranian on a pink leash: "I was with her just two days ago with 
the dog!" A Reuters reporter bellowed into her cellular phone, "'Any- 
one on the desk want an interview with a woman who said she walked 
with her with the dog?" Nearby, a Haitian nurse openly wept and 
crossed herself repeatedly in the bright sunshine. 

The death of a public figure in New York is always choreographed 
like a splendid pageant, but the police had 
never experienced anything that remote- 
ly resembled the tributes that came that 
morning, nor had 1. 1 watched from be- 
hind the blue-and-white police sawhorses 
as clusters of men in suits, women in run- 
ning shorts, mothers with babies in 
strollers, and young girls in crisp spring 
linen dresses on their way to offices 
dropped bouquet after bouquet into the 
bed of purple impatiens outside the build- 
ing entrance. Such care had gone into the 
selection of these flowers— single buds of 
the palest tulips the pink of a baby's palm, 
cascading lilacs, and tiny unfurled roses. 
One woman had gone to Mrs. Kennedy's 
own florist and asked what she would have 
liked. "Anything small," he said and then 
repeated the obvious. "She was very dis- 
creet.'" All morning they came and care- 
fully laid these tributes. I watched them 
and wondered. What had Jackie Kennedy 
represented to them? 

Much of Jacqueline Kennedy Chas- 
sis's fame came from her looks and 
whom she married and from murder and 
the fact that she had a curious detach- 
ment, a certainty held in reserve. The 
breathiness of her voice, some felt, could be explained by the fact that 
she was shy. She had good manners as well, a keen sense of her place 
in history, and something else: the allure of all her secrets. She was of- 
ten playful, sometimes sly; yet sadness, even melancholia, seemed to 
lurk just beneath her surface. Soon after President Kennedy was as- 
sassinated, Jackie went to stay with her close friends Minnie and James 
Fosburgh in Katonah. a charming town outside of New York City. The 
ebullient actress Kitty Carlisle Hart was visiting as well. Kitty Hart's 
husband, director and playwright Moss Hart, had recently died, and 
the two women spent hours together in private. To lighten the atmos- 
phere, Mrs. Hart suggested that they all play Walter Mitty. "What would 
you be if you could be anything at all?" she asked Jackie Kenned) "A 
bird," she replied, as if her desire to escape her destiny could not be 
imagined in human form. All that weekend Mrs. Kennedy agonized. 
She went over and over the president's final moments, as if she blamed 
herself for his death. If I had turned to the left, if 1 had turned to the 

right, what if I had moved six inches in the car? What if we hadn't | 
to Dallas? Would Jack still be alive? 

It has become commonplace for writers and reporters to say 1 
one person they wanted to interview was Jacqueline Kennedy. Nc 
was gone, with all of the questions unasked, unanswered. So many 
and opinions we will never know: What did she really think of | 
Kennedy, Lyndon Johnson. Judith Campbell Exner, and Christina ( 
sis? Did she know that the White House logbooks were sometim^ 
tions. notable for their omissions? In later years, she often ment 
"Jack" in conversations, as if to flatter her companion that she wa 
ing something, but only the most obsequious ever thought these I 
remarks added up to very much. It was a charming trick of hers, al 
plied confidence with the substance of air. A pretty British repl 
claimed that Jackie once rescued her from Ted Kennedy's drunkei 
ual advances on a train and told her that she had "learned not to| 
her emotional makeup." She gave the reporter, Noreen Taylor, wh 
er wrote about the episode in The Spectator, the impression that sh^ 
not repulsed by the exuberance of the Kennedys but almost wishe 
she could have their boisterous resilience. She once wrote of the fal 

"How can I explain these people?] 
were like carbonated water, and i 
families might be flat." Yet. in the rl 
of the Kennedy carnival, Jacquf 
Kennedy understood fame and ibj 
paradox: She knew the only enduring 
dom would come from silence. 


Jackie Kennedy as she appeared in the 
December 1 965 issue of Vogue 

t was the morning of May 20 \ 
most people heard the news < 
death, although Jackie Kenned;! 
died the night before. New York had 
a particularly glorious spring, the fcn| 
ia and the tulips on Park Avenue 1 
longer than anyone could remembei I 
Knicks and the Rangers were battlit I 
championships, and there was a fej 
that the city was coming back again, 
ing in the energy from the new mayor j 
ly that morning, my eleven-year-old < 
ter awakened me with a certain jaunt 
of tone, as if she were privy to inside i 
"Jackie Kennedy is dead!" 

The television shows were filled | 
the footage that defined the childhc 
my generation: Jackie on a horse 
young woman at Merrywood; Cari 
and John as toddlers, scrambling oi 
beach in Newport, their hair riffling in the wind; Jackie in her "Sj 
parelli pink " suit diving out of the Lincoln convertible. What a \ 
she created for herself: George Plimpton's elaborate toasts to eight- 
old Caroline with a champagne flute full of cocoa, poetry recitation 
rate treasure hunts with longboats borrowed from the coast gi 
French conversations just for the heck of it. and cadeaux of ancicn 
man heads to her longtime companion Maurice Tempelsman. Ha 
forgotten how beautiful she was when she was young? Those ere 
shoulders in strapless gowns, the startling dark eyes on the sides < 
head, the cap of dark hair. 

The narrative of her life seemed so vivid on TV, but the truth w 
ways quite deliberately hidden. Did she ever let her hair down witl 
close friend and school chum Nancy Tuckerman? Somehow I dou 
Mrs. Kennedy appeared to be a woman whose intimate friendships c 
from a shared history, secrets earned from implication and experu 
All that week in May there had been conversations among a certain g 


the unforgettable jackii 

The first lady in India during a tour of India 

and Pakistan that she made with her sister, 

Lee Radziwill, March 1 962 

le unforgettable Jackie 

in the city about the gravity of her condition. It was 
said that she was near death, but even her closest 
friends did not believe it. Her friend Louise Grun- 
wald had had lunch with her only the week before. 
Her friend Jane Hitchcock had gone to dinner with 
her immediately before she left for Rome. And then 
Mrs. Kennedy was dying so quickly, her friends 
rushed back, from Rome, from their houses in the 
country, and felt in some ways betrayed that she had 
never let on how serious this lymphoma was. Why 
were they surprised? They knew, as did we all, that 
Jackie Kennedy was of a world that believed that 
discretion was the highest form of human behavior. 

There were of course many tears that morn- 
ing. And in numerous houses in America, as in 
my house, the questions of children: "Mother, 
why are you crying?" In my daughter's voice, I 
could suddenly hear my own, 30 years ago, de- 
manding of my own mother crying in front of our 
black-and-white Motorola that November of 1963: 
"Mother, why are you crying?" I could see my 
mother sitting cross-legged in her pedal pushers, 
39 years old then, weeping, oblivious to my pre- 
teen presence. And now here was another televi- 
sion set and again, all the phrases we have come 
to expect in any description of Camelot. For Tlie 
New York Times, she was "the young woman in 
widow's weeds," but the editorial writer, like every- 
one else, was struggling to describe the intangible, 
the subtext of this woman who chose not to let her- 
self be known except by her children. 

What explained her power over the national 
imagination then? For many women, Jackie 
Kennedy was a version of an idealized self, a female 
archetype. She certainly moved through our lives 
as if she were part of a collective unconscious; we 
projected so many qualities onto her that it was im- 
possible to know who she was. 

For my generation, a few years removed from 
Caroline, Jackie Kennedy was tangled up inextri- 
cably with our own mothers. "Why don't you act 
more like Jackie Kennedy?" my mother used to 
ask in my teenage years. "Talk less. Project mys- 
tery." My mother and Mrs. Kennedy were of a gen- 
eration that was reared not to express their thoughts 
publicly; they were filled with tricks and bromides 
and a sense of the appropriate. When confronted 
with an enemy, Mrs. Kennedy refused to make eye 
contact, impeccable to the last. 

It was the autumn of 1 960 when she first began 
to ascend. As Jacqueline Kennedy drifted through 
the campaign trail, her husband's advisors, miscalculating the mood of 
the country, wanted her to be invisible. It was the first time anyone from 
the world of fashion had come close to political power. Mrs. Kennedy 
was in New York City at a time when Castro was in town and the Yan- 
kees were in a world series. Here was the wife of the Democratic candi- 
date—a Catholic!— and a woman out of a Cole Porter lyric, very Cote 
Basque, fey. She had quite cunningly invented her own style. For years, 
a close friend of hers recently told me, she had very deliberately copied 
Audrey Hepburn's singular look. She took Hepburn's image— the naif, 
the gamine— and made it her own. She was dressed, as Hepburn was, by 
Givenchy and Balenciaga. She wore the ballerina skirts of Sabrina and 
the Funny Face leotards. In private, she often sought the guidance of the 

great fashion diva Diana Vreeland, who was involved with every asfl 
of Mrs. Kennedy's glamorous wardrobe as first lady. 

America was ready for her; the parents of many baby boomers I 
put their Depression-era childhoods behind them and were sudckB 
prosperous, eager to forget the dowdiness of Mamie Eisenhower and! 
pink-and-green decorating schemes. We bought Vaughn Meader's M 
Family album to imitate Jackie's accent and hundreds of thousand! 
copies of a Hallmark Christmas card she had painted of an angel. I 
the middle class who had grown up with the idea of Yankee virtue, J;l 
ie Kennedy made luxury, frivolity, and European glamour de rigueiB 

Our mothers suddenly sported double-breasted knockoff suits, sll- 
mer dresses, and threw away their Claire McCardells. My mother vl 


her sixties, so young. She was lying on a paisley 
chintz sofa in my house in Manhattan, ravaged 
by cancer, trying desperately to project, as Mrs. 
Kennedy always had, the idea that nothing in the 
world was the matter. She entertained herself by 
reading a copy of W. "My God, look at these Bou- 
vier sisters! Here is a picture of Jackie and Lee 
Radziwill out shopping in Paris on the morning 
after their mother died!" I expected my mother to 
make a remark about unseemly appearances, but 
she surprised me: "Isn't that marvelous? Such elan 
vital! I admire those girls. This is what I want you 
to do after my funeral. Imitate Jackie Kennedy. 
Never waste a moment in your life." 


• d that she was not flat chested enough to "get away with," as she 
rased it, those skinny tops. "There goes Jackie in her Pucci and her 
icri," our mothers used to tease. They were obsessed with her style 
id suddenly wore low heels and, later, khaki pants and navy T-shirts. 
Irs. Kennedy taught our mothers to read Vogue and Women 's Wear 
'iily, to wear black and more black and tie their hair back with a vel- 
jt bow. They masked their ambitions, as Mrs. Kennedy did for years, 
(traditional female roles. 

Grief is singular, often solipsistic, yet on the morning after Mrs. 
bnnedy died, many women I spoke with mentioned their mothers, and 
Ine, too, was on my mind. I could see my mother so clearly; I could hear 
h mother's voice a few days before she died, as Mrs. Kennedy had, in 

hat Friday afternoon, John Kennedy, Jr., 
walked out of his mother's apartment in 
his running clothes. He would later glide 
down Park Avenue on his Rollerblades and wind 
up on the front page of the Daily News. There was 
a murmur of disapproval from some of the re- 
porters, but I thought, His mother would approve, 
and he knows it, good for him. Earlier that day, 
John had come out in front to address the crowd, 
the photographers descending on him like a sin- 
gle wall. He wore a dark pin-striped suit; his eyes 
were red and puffy. When John appeared, many 
people in the crowd began to yell: "Elhermanor 
"Elhijor And over and over, "John-John!" In the 
imagination of the mourners, John Kennedy, Jr., 
is perpetually three years old, paying tribute to his 
father with a heartbreaking salute. A family friend 
later told me that he and Caroline had been 
"stunned" by the reaction to their mother's death 
and the horde that came and camped at 1040 Fifth 
Avenue, so successful had Mrs. Kennedy been in 
making her children believe that they had a sem- 
blance of a private life. John said that he was grate- 
ful for the wishes of the crowd and he hoped that 
the family would be able to observe the next few 
days "in relative peace." 

He was so like his mother then, addressing 
the nation after the assassination, thanking the 
country for the 800,000 letters she had received. 
Nearby, several reporters scurried about do- 
ing their person-in-the-street interviews for their 
afternoon deadlines: What did Mrs. Kennedy 
mean to you? I observed one young woman 
hold herself a bit away. She wore a felt-and- 
leather bomber jacket and looked a bit out of 
place in this elegant neighborhood. Jenny Gar- 
cia, 30 years old and a guard in a men's shelter, told me she was "com- 
pelled" to come. "I identified with Mrs. Kennedy," she said. "I'm a 
single mother, after all." 

As the tulips and sweetheart roses piled up in the flower beds, every 
30 minutes or so the doorman filled his arms with bouquets and took 
them to the basement, where two close friends of Mrs. Kennedy's at- 
tempted to work them into funeral wreaths. I watched Ted Kennedy, 
florid and newly married, arriving with his wife. Then William Kennedy 
Smith strolled toward the apartment building. He smiled and appeared 
quite nervous, as if he had heard the reporter next to me cry out, "There's 
the rapist," despite his acquittal. When Ted Kennedy and William 
Kennedy Smith shambled in, their lips pulled tight, I wondered how Jack- 



ue unforgettable Jackie 

ie had explained away the death of Mary Jo Kopcchne at Chappaquid- 
dick to Caroline and John. Soon, Eunice Shriver walked in. her face lined 
and drawn. Of all the sisters, it is Eunice, the most decent, who appears 
unable to camouflage the lies and sins of the Kennedy family. 

As a young woman, Jackie called the Kennedy sisters "the rah-rah 
girls" and compared them to a pack of gorillas. They referred to her as 
"the Deb" and imitated her baby voice. As Mrs. Kennedy was dying, the 
sisters asserted themselves once again: I was told that one Kennedy sis- 
ter had been by the bedside as Jackie lay in a semicoma. As her friends 
visited her, whispering their last goodbyes, pressing special religious 
medals into her hand, the sister narrated in a loud voice: "- —says she 
loves you, Jackie!!" And then there were the discussions— how to bury 
her. where to bury her— and the questions: Should the funeral be public, 
semiprivate, or perhaps even held at the apartment? Incredibly. Caro- 
line and John were left with no clear instructions from their mother. The 
Kennedys lobbied for a slate funeral and Caroline, with her exquisite 
taste, held firm, insisting that the ceremony be private and by invitation 
only. Although Mrs. Kennedy tried to avoid public life, she did have a 
passion for history and her family's place in it. When she got off the plane 
to Washington from Dallas in 1 963. the first thing she did was ask some- 
one on the White House staff to research Lincoln's funeral. 

Is it unkind to speculate that Mrs. Kennedy always had a certain am- 
bivalence about publicity? When she would dine at a popular restaurant 
in New York, the owner would tell her when photographers waited to 
ambush her outside. ""I can't face the press." she would reportedly say. 
"Why don't you go out the side door if you want," he would say. and Mrs. 
Kennedy always answered, "Oh, I guess it's all right." and then sighed 
and cast her eyes down. At one point on that May Friday, Hillary Clin- 
ton called to announce that she would like to attend the services. The fam- 
ily at first was unsure what to do; they believed that the arrival of the first 
lady would make Jackie's funeral a complete public event. "I want to 
come as a friend," she said. And so the decision was made to hold the fu- 
neral at St. Ignatius Loyola, where Jackie had gone to church as a child, 
and then fly her body to Arlington Cemetery. Some years earlier, a close 
friend of hers told me; Mrs. Kennedy had determined that she wanted 
to be near the president. A woman who had a complex view of her pri- 
vacy was to be buried in a public place as a national figure in the compa- 
ny of military heroes and legendary American men. 

What is there to add to the historical record about Jacqueline 
Kennedy? There is no question that her background was un- 
usual: She was the daughter of a bossy and imperious moth- 
er who, in her second marriage, to Hugh Auchincloss. was so determined 
to prove to the world that she was suddenly really rich that, according to 
one biography, she hired more sen ants than she had rooms at her New- 
port estate. Hammersmith Farm. Jackie's father. Black Jack Bouvier. 
was an appealing drunk who often dated women his daughters age. The 
year young Jacqueline Bouvier spent away from her family in Paris as a 
college girl was. not surprisingly, the happiest of her life. At 2 1 . she wrote 
an autobiographical essay of surprisingly polished and flashy prose, which 
helped her to triumph over a field of over 1 .000 college seniors to win the 
1 95 1 Vogue Prix dc Pans, a contest the magazine had devised as it quaint- 
ly phrased it. to "dissolve the "no experience' barrier that exists between 
the young and the professional world." The Prix de Paris applicants ap- 
peared in later photographs to be girls from the Seven Sisters w ho w ore 
cashmere sweaters, circle pins, and white gloves. The self-portrait Jack- 
ie Bouvier turned into I 'ogue reveals her unusual detachment and wit, 
perhaps a necessity to sun ive w ith such a family. Here it is. uncut, just as 
she typed it that spring. 43 years ago: 

A self-portrait written from the author's \ icw point is liable to 
be a little biased. Written from the viewpoint of others it would 
probably be so derogatory that I would not care to send it in. 

I have no idea how to go about describing myself but perhap 
with much sifting of wheat from chaff I can produce some 
thing fairly accurate. 

As to physical appearance. I am tall. 57", u ith brow n hair. ; 
square face and eyes so unfortunate!) far apart that it takes thro 
weeks to have a pair of glasses made with a bridge wide enougl 
to tit over m> nose. I do not have a sensational figure but can lool 
slim if I pick the right clothes. I Hatter myself on being able at time j 
to walk out of the house looking like the poor man's Paris cop) 
but often my mother will run up to inform me that m\ left stock . 
mg seam is crooked or the right-hand topcoat button about to l'al| 
off. This. I realize, is the I Inforgjveable Sin 

I lived in New YorkCitj until [ was thirteen and spent tlq 
summers m the country . I hated dolls, loved horses and dfll 
and had skinned knees and braces on m\ teeth for what mil 


have seemed an interminable length of time to my family. 

I read a lot when I was little, much of which was too old for me. 
There were Chekov and Shaw in the room where I had to take 
naps and I never slept but sat on the window sill reading, then 
scrubbed the soles of my feet so the nurse would not see I had been 
out of bed. My heroes were Byron, Mowgli, Robin Hood, Little 
Lord Fauntleroy's grandfather, and Scarlett O'Hara. 

Growing up was not too painful a process. It happened grad- 
ually over the three years I spent at boarding school trying to imi- 
tate the girls who had callers every Saturday. I passed the finish line 
when I learned to smoke, in the balcony of the Normandie theatre 
in New York from a girl who pressed a 1 .ongfcllow upon me then 
led me from the theatre when the usher told her that other people 
could not hear the film with so much coughing going on. 

I spent two years at Vassar and still cannot quite decide whether 

rles de Gaulle, during their 
visit to Paris, June 1 , 1 96 1 

I liked it or not. 1 wish I had worked harder and gone away less 
on weekends. Last winter I took my Junior Year in Paris and spent 
the vacations in Austria and Spain. I loved it more than any year 
of my life. Being away from home gave me a chance to look at 
myself with a jaundiced eye. I learned not to be ashamed of a real 
hunger for knowledge, something I had always tried to hide, and 
I came home glad to start in here again but with a love for Europe 
that I am afraid will never leave me. 

I suppose one should mention one's hobbies in a profile. I re- 
ally don't have any that I work at constantly. I have studied art. 
here and in Paris, and I love to go to Art Exhibits and paint things 
that my mother doesn't put in the closet until a month after I have 
given them to her at Christmas. I have written a children's book 
for my younger brother and sister, as it amuses me to make up 
fairy tales and illustrate them. I love to ride and fox ►300 


k. ~ 

Jacqueline Bouvier at age 22, after winning Vogue's Prix de Paris competition, photographed by Richard RuHedge, August 1 5, 1 95 1 



Jacqueline Bouvier proved herself a winner long before 

she married John F. Kennedy or became first lady. 

In 1951, out of a field of more than 1,200 college women, 

she was awarded Vogue s Prix de Paris 

'950, as a senior at George Washington University, Jacqueline Bou- 
decided to participate in Vogue 's sixteenth annual Prix de Paris, 
prize consisted of one year working as a junior editor at Vogue- 
months in the Paris office, six months in New York. The rather ar- 
ms competition required answering two rounds of four questions each 
I a final "thesis. "Jacqueline Bouvier emerged the victor from afield 
', 280 applicants from 225 colleges. Although she was photographed 
the August 15, 1951, issue, she ultimately chose not to accept the 
e (she had spent her junior year in Paris and, as she wrote the judges, 
mother felt "terrifically strongly about 'keeping me in the home. ' ") 
tetheless, these excerpts from her answers to Vogue 's questions re- 
la great deal about her charm, wit, and erudition, and give evidence 
he woman she was to become. 

ite a 500-word article on "People I \\ ish I Had Known." In- 
de vour favorite |>eo|>le in the world of art, literature, or oth- 
milieus, no longer living. Give reasons for vour selections. 

ting them in chronological order, I would say that the three men I 
uld most like to have known were Charles Baudelaire, Oscar Wilde, 

Serge DiaghilefT. They followed close upon each other in the three 
liters of a century from 1 850- 1 925. They came from three different 
ntries and specialized in three different fields: poetry, playwrighting, 
1 ballet, yet I think a common theory runs through their work, a cer- 

concept of the interrelation of the arts — 

Baudelaire and Wilde were both rich men's sons who lived like 
idies, ran through what they had, and died in extreme poverty. Both 
poets and idealists who could paint sinfulness with honesty and 

believe in something higher. The Frenchman, an isolated genius 

could have lived at any time, used as his weapons venom and de- 
ir. Wilde, who typified the late Victorian era, could, with the flash 

■in epigram, bring about what serious reformers had for years been 
ng to accomplish Serge Diaghileff dealt not with the interac- 

1 of the senses but with an interaction of the arts, an interaction of 
cultures of East and West. Though not an artist himself, he pos- 
sed what is rarer than artistic genius in any one field, the sensitivity 
ake the best of each man and incorporate it into a masterpiece all 
more precious because it lives only in the minds of those who have 
n it and disintegrates as soon as he is gone — 

It is because I love the works of these three men that I wish I had known 

m. If I could be a sort of Overall Art Director of the Twentieth Cen- 

I y, watching everything from a chair hanging in space, it is their theo- 

1 ; of art that I would apply to my period, their poems that I would have 

i sic and paintings and ballets composed to. And they would make such 

xl stepping-stones if we thought we could climb any higher. 

Fashions in Vogue arc shown in three ways: (A) Thev are pho- 
tographed on professional mannequins whose names are not 
given. (B) Thev are photographed on personalities, people in 

the news, and ladies of distinction and chic (C) They are 

drawn Which method do you prefer and why? 

. . .1 prefer to see fashions photographed on professional models. A mod- 
el's job is to efface herself and call attention to her dress. A woman of chic 
wishes to play up her own personality. She is well dressed if people say, 
"She looked heavenly but I can't remember what she had on." The read- 
ers of Vogue expect to learn something about a dress before they trot off 
to Bonwit Teller or Julius Garfinckel and part with $89.95 .... 

If I am thinking of buying a dress I prefer to see it photographed on a 
professional model, but I think that Vogue would lose an enormous amount 
of its appeal were it to abandon sketches and clothes photographed on 
personalities. Variety is the spice of any good magazine and Vogue would 
be a bore if it offered nothing but poker-faced mannequins posturing 
through its pages. It would have the commercial deadliness of some whole- 
sale buyers magazine. It is fun to come across Marlene Dietrich brood- 
ing in a great black cape or Mrs. R. Fulton Cutting II sitting in a pink 
cloud of William Winkler nylon tulle .... Vogue's popularity is due to the 
variety of ways in which it presents fashions, but I should think that a sur- 
vey would show that the clothes that sell the best are those that are pho- 
tographed on professional models, and, offensive as the clink of a silver 
may be, Vogue could not exist if the clothes it featured did not sell. 

If you could have any three of the fashions in this issue [August 
15, 1950: to take hack to college with you, which three would 
you choose and why'.' 

The gray suit would be my uniform, would be fashionable and practical 
for as long as it held together. It could go travelling, shopping, to lunch 
and art exhibits with the accessories Vogue gave it. A head hugging veiled 
black velvet beehive hat, perhaps a hint of velvet at the throat and a dressy 
pin, black shoes, bag, and gloves and a big fur muff could take it cock- 
tailing and even out for a non-dressy evening in the city. It could be dressed 
up or down The sleeveless plaid dress would fill the casual require- 
ment in my wardrobe and would also be heaven-sent on occasions that 
hover between the casual and the "just a little dressy" when you never are 
quite sure of what to wear. It could go to football games or into the coun- 
try under big coats. Worn over the black turtleneck blouse that I would 
buy for the gray suit, and with a black belt it could cope with Sunday af- 
ternoons at a college followed by dinner in town, or with Sunday lunch 
at his family's house in the country .... The black top and orange taffeta 
skirt would see me through after football game dances in frater- ^302 




iMtf—foess/fcellv Lynch 
and her screenwriter hu 
not only a masterpiece c. 
drama of land and light. Hamish Bowles surveys the terrain. 
Photographed by Bruce Weber 

The menu street of I one Pme. ( alifornia. is right out of an Edward 
I lopper painting. Hie high-st) le 1 950s Margie's Merry-Go-Round 
restaurant and Veda's Hair Villa jostle the outdoorsman empori- 
ums with their shelves of predators' tackle, glass-boxed shiny lacquered 
salmon, and prancing stuffed chipmunks. But after a ten-minute drive 
through a frankly awesome landscape of massed boulder and rock for- 
mations that were thrust through the earth's surface in some explosive 


moment in prehistory, you come upon a small settlement of isolated I 
adorned houses. Among them is the weekend house of the actress } I 
1 \ nch and screenwriter Mitch Glazer. 

"You can see forever," says Lynch of the \ iew from the glass h ■ 
where she escapes from Los Angeles to relax with her husband ami 
daughter. Shane. -With the sun falling, the light turns from white tol 
pie." Adds Cila/er. -What's amazing is that you ha\ e literally the h\M 

int in the country, Mount Whitney, and Death Valley, the lowest, prac- 
ally within sight of one another." 

"The house was asleep," remembers Lynch of the sleek, low-slung 
iss pavilion designed by Los Angeles modernist Richard Neutra in 
59. "It was this dormant, beautiful thing. We did our best to bring it 
ck to the way it was. It involved taking a lot away— including a house 
xt door!" The leveling of the offending tract house, whose existence 

was loudly lamented by Neutra himself as a blemish on the landscape, 
remains a source of stupefaction to the Lone Piners, who otherwise seem 
to take a shy pride in having a down-home movie goddess in their midst. 
(Not that the spirit of Tinseltown has ever been too far away. Ever since 
Fatty Arbuckle featured the area in his 1 920 film The Roundup, Lone 
Pine has been a favored setting for Westerns— it now has sites named for 
silver-screen cowboys Hopalong Cassidy and Gene Autry.) 


y's the limit 




Dramatic setting, 
near right: Lynch 
and Glazer in 
a movie clinch; 
she wears a sweater 
by A.P.C. inset: 
Lynch's eight-year- 
old daughter, Shane, 
in a devilish mood. 
far right: The living 
room with its original 
fitted furniture units 
that Neutra designed 
for the room. The 
coffee table is by 
Isamu Noguchi, the 
chairs by Charles 
Eames and Eero 
Saarinen. The rug 
was made in the 
fifties for a hotel in 
Brazil. Details, 
see In This Issue. 






/ m 


Inside and out, clockwise from above: 

J The kitchen with forties Russel Wright 
ceramics. On the guest bedroom 
terrace, a fifties vase stands next to 
a Van Keppel and Green chair. 
The family outside looking in. Artifacts 
from the fifties, including bongo 
drums, Venetian glass, and an array of 
period literature are displayed in 
Glazer's study. The dining room with 
original table and chairs by Neutra 
found by Lynch and Glazer; the forties 
trolley table by Paul McCobb holds 
Venini glasses and a photograph of 
Lake Mono by MacDuff Everton; Lynch 
found the antique Cree jacket in 
Seattle while on location for Drugstore 
Cowboy. A view of the backyard. 




The house was built in 1 959 for the < 
a Mormon couple who look, in a faded \ 
shot taken in front of their house, every I 
and honest inch the iconic homestead* 
Grant Wood's American Gothic, updat 
mid-century Jetsons aesthetic via Mr. 
TV-screen glasses and his wife's flowery I 
and high-rise hairdo. "They were a brav^ 
interesting couple. 1 felt we had to live up I 
originality and eccentricity of the previousl 
ere," says Glazer. 

In the late fifties the Oylers bought an i 
ishing plot of land to build a house foil 
family of seven. They then went to t| 
cal library to look through the listir 
architects. Serendipitously. they de 
on Neutra. who was already intern. 1 
ally celebrated for his cool. reducti| 
sion. Neutra was intrigued by their \ 
sition and bewitched by the site. 

The house that Neutra built IV 
Oylers exemplified his belief in wo| 
with the landscape and is featured ] 
nently in his 1 97 1 book Building will 
ture. In Neutra's scheme, sliding | 
doors and spare, natural-colored intu 
and materials link the house to the ' 
of a primeval landscape of 100-fooJ 
rock formations. The Oylers evidently slf 
his beliefs and blasted out a huge rock wil 
namite to create a pool for their childreij 
one side the land rises to the snow-tipped ] 
of the Sierras, and on the other, extends 1 
desert wastes dusted with wild sage and ll 
to the silvery mauve salt flats of Owens | 
drained in 1910 to provide Los Angele- 
water (and a plot for the movie Chinatown I 
the other side of the valley, in the White Nj 
tains, is the world's oldest continuously 
ing organism, a 4,600-year-old bristlecow 
called Methuselah. 

Neutra was so enamored of his creatio | 
its owners that he continued to visit the sit 
guest after they had moved in. "There is a j 
calm, spiritual quietness about your fair] 
that landscape." he wrote after one stay, [ 
endearingly clumsy English. "You [are] 
derful people, and you live in a lovely h| 
somebody must have built who loved you. 
tra would stay up late watching the operaticl 
skies. "He never got any sleep up here," L| 
says and laughs. 

Lynch and Glazer originally planned t| 
a house in Los Angeles. Lynch had come I 
city six years earlier to pursue acting after al 
eling career in New York. She was inspii[ 
part by Shane, who is now almost nine. " 
couldn't support Shane with modeling," ll 
explains. "She made me feel courageouf 
helped me with that." Despite appearing irj 
hits as Bright Lights. Big City. Cocktail and . 

; rches pootside while Glazer 
ks on a script in Agnes B.'s tuxedo, 
| Lynch sunbathes in Richard Tyler's 
Lhed silk lingerie evening dress. 
'ails, see In This Issue. 


'$?.. r 

(ft «> 






house, Lynch has come a cropper with the standard Hollywood duds that 
alluring actresses must field, including H arm Summer Ruin and Curley 
Sue (a film she made because she wanted Shane to be able to see her 
work), ll was when she w as making Drugstore C mr/wr that she met Glaz- 
er. This is how Lynch remembers their first meeting: "I was at the Bev- 
erly Grill. He walked in with Sue Mengers [the powerhouse agent], and 
everybody knew everybody except Mitch and 1. 1 fell in love, and all I 
could think was, Why am 1 wearing this horrible dress? Our first date was 
the Drugstore Cowboy premiere. He was sooo nervous ... he wanted me 
to be great." 

Lynch was great. Her trenchant portrayal of Dianne. the amoral, self- 
obsessed drug addict and long-suffering girlfriend of Matt Dillon in Gus 

Van Sant's unsettling movie, established her as a screen actress to be I 
oned with. She is also proud of her work as Connie in Tluee of Ha 
about a love triangle between two women and a man. which Gl 
worked on with her ("It seems I"m always writing for her." he admiij 
though his earlier credits include Scrooged, starring Bill Murray ). 

Their real-estate agent was the architectural historian Crash) 
"We asked Crosby to find us an architectural house, and we toldl 
we were crazy about Neutra." says Lynch. "He said. Have I go| 
house for you! But it's in Lone Pine. We thought. What a funny 
to go and see a great house." As it had for Neutra. that three-hour 
sure trip northeast of Los Angeles turned into something much i 

"We went back and forth on buying it. Would we really spend ll 


;r reunion, 
- Lynch and Shane 
; living room; 
r own top, Isaac 
' miniskirt. 
Vs massive 

sky's the limil 

f. hair, Burtonl 

jpola Salon; makeup, 



Backlash? In the fc| 
sales of beef, dan- 
eggs, and salty snl 
fad for low-salt, lo ] 
and "lite" foods i 
finally be fading. 

Sittings Editor: Ph> 
Photographer: Pe 


ancy That 

onsidering that humans can eat virtually anything, 
s somewhat surprising that we all choose to eat the same things, 
om quiche to kiwis to clear beer, from low salt to oat bran 
fat-free, Americans embrace the latest trends and then move on. 
iffrey Steingarten wonders why we're more obsessed 
ith fads than we are with food 

love food fads. My favorite American food faddist is Miss M. A. 
Boland, a nursing teacher at Johns Hopkins who, in an article in 
Popular Science Monthly in 1893, advocated the practice of "stuff- 
as a cure for melancholia, "acute mania," and hallucinations, 
"ing meant giving a patient as much food as he or she could pos- 
eat. I would have enjoyed being a melancholic in 1 893, but I doubt 
stuffing will reemerge as a fad for the current nineties. 

len I go out to restaurants these days, I am delighted by the fads 

iffer. I am thrilled by yuca and everything else deeply South Amer- 

i; titillated by lemongrass and kaffir lime leaves and spring rolls in 

heir deep-fried, divinely inspired manifestations; surprised to find 

nese pea shoots, star anise, and flowering chives; cosseted by cous- 

s; enchanted by real, honest bread; and scandalized to see the word 

iiterranean promiscuously printed on nearly every menu. What 

next year bring? Are there any cuisines left to plunder? I hope so. 

3ne of my dictionaries says that the word fad is related to the word 

Both may possibly derive from the Latin word fatuus, which 

ijtns silly or insipid. The general idea is that fads fade and fads are 

| ious. But nothing could be further from the truth. My new Oxford 

■lish Dictionary on CD-ROM, which my wife, in the spirit of high 

lance, gave me for my birthday, says that the etymology of fad is 

nown. I hope that CD-ROMs are not a fad, because my birthday 

pkent was extremely expensive. 

fcome fads do not fade. They become trends, fixtures, or cliches. 

Si-dried tomatoes, white beans, baby lettuces, basmati, bulgur, po- 

tfa, and warm goat cheese are here to stay, at least for the next year 

P'wo. Kiwis, in contrast, have retreated to the most distant corners 

celected supermarkets, where I give them a wide berth. Visitors from 

I*y are always amused to see traditional ingredients, polenta or ace- 

u alsamico, plucked from their home turf and cast as leading players 

■the eclectic menus of Los Angeles or New York. Quiche almost 

r mes with cliche and is now nearly forgotten; but when you order 

C che in Alsace-Lorraine, as I did a month ago, and it arrives at your 

tie puffed and hot and full of the good, rich taste of eggs and bacon 

a I buttery pastry, you remember why quiche was on every tongue 25 

ago. It is a shame that the U.S. quiche fad faded into those sod- 

ubbery remnants you find in airport snack bars. 

\nd most food fads are not at all fatuous. They are as old as eating 

II and a source of great pleasure. Here's why: Unlike most other 

animals, we are omnivores. We can digest nearly anything and are 
born with a preference for sweetness and nothing more. This is a lucky 
break because it means that we can easily adapt to any region, crop 
pattern, or climate. Omnivores never need be dependent on the sur- 
vival of one or two plant or animal species. Cows would be nowhere 
without grass, but when humans act like cows, the results are disas- 
trous, as the Irish potato famine showed. That's why omnivores are 
constantly on the lookout for new and different kinds of food. 

But we omnivores, ready to consume every new dish that comes 
our way, are in continual danger of being poisoned or displeased. "It 
is in the interests of survival to . . . maintain intake from a wide variety 
of food sources," explain Krondl and Coleman in Social and Biocul- 
tural Determinants of Food Selection. "Unfortunately, any unknown 
item could be poisonous. Thus omnivores exhibit ambivalent behav- 
ior towards new foods." When rats, our fellow omnivores, are pre- 
sented with a novel food, they sample just a little bit and wait to assess 
its effects. Then, unless they've gotten sick, they will return to the new 
food and eat with abandon. Humans have an easier time than rats. We 
have magazine writers, restaurant reviewers, and each other to dis- 
cover whether a new food is available, safe, and savory. And that is 
why humans are genetically programmed to be food faddists. Of course, 
we also follow fads to belong, to be hip, to feel chosen. 

Sheepishly I must admit that I have no idea what fads and fashions 
are filling up today's grocery bags. I myself cook mainly from scratch, 
avoid supermarkets, can openers, and microwaves. I buy my produce 
at the farmers' market, my meat from a butcher, my bread from a bak- 
er, my Oreos at the gourmet store, and my foie gras from an 800 num- 
ber. I believe my license for operating a shopping cart has nearly expired. 
But I have made frequent trips to the supermarket in recent days, 
carrying in my hand several issues of New Product News, a trade jour- 
nal published in Chicago. The number of new cereals and baby foods 
is way down, desserts are way up, and pet foods are even stronger, es- 
pecially in the pet-snack category and in special foods for senior pets 
and newborn puppies and kittens. Rotisserie chickens are booming. 
Any food, no matter how empty and processed, seems a candidate for 
antioxidant enrichment with extra vitamin E, beta-carotene, and sele- 
nium. The "clear" fad of last year has come to a quick end; Miller's 
Clear Beer was withdrawn from the market after only six months. Lac- 
tose intolerance is the hottest food disorder of the nineties, at ^303 



i mm 

f-fncfc, Clinch 

ing th^ P j jj^ g|nLrt^ ^iagp?m3hQuse S^ 
dmparedwith becoming the next 
I or Naomi, the allure of the supermol 
egiops of girls pursuing dreams of glam' 
Gandee follows sixteen-year-oh 
^ratesL^jjJgjj[J2fe^ or th^supermodel cro' 
ad from fantasy to reality, 
otographed by Arthur Elcjort 

cfcrrc [hr^f 






lerage but not underpaid: 
ling of the fashion 
i in a Lands' End ski veStW 
vintage Adidas zip-op jacket, a 
T-shirt by Hones, and jeans by 
A.PC In this story: hair, Chris 
makeup, Sonia Kashuk for Avt 
Details, stores, see In This Issue. 
Fashion Editor: Camilla Nickerson 



ach year armies of bright-eyed young 

girls, hard-paid-for portfolios in hand. 

determinedly make their way to the 

icy anterooms of Ford, Elite, Click. 

and Wilhelmina, hoping to become 
what Lisa Fonssagrives-Penn and Suzy Parker be- 
came in the fifties, what Jean Shrimpton and Twiggy 
became in the sixties, what Christie Brinkley and Pat- 
ti Hansen became in the seventies, and what Naomi 
Campbell. Cindy Crawford, Linda Evangelista, Clau- 
dia Schiffer. and Christy Turlington became in the 
late eighties and early nineties. Who is turned away 
at a glance, and who is greeted with open arms and 
promises of all the runways and magazine covers that 
Milan, Paris, and New York have to offer, of all the 
multimillion-dollar contracts that Lancome. Estee 
Lauder, and Revlon have to offer, and, of course, of 
all the steamy romances that Johnny Depp, Jason 
Patric. and Christian Slater have to offer is determined 
by genetics and timing. Of the two, timing is the tricky 
one. Because for a model, success hinges not so much 
on how she measures up to some absolute standard 
of beauty, but rather on how accurately she personi- 
fies the physical ideal of her day. 

Among the current contenders for Our Dream of Contemporary 
Beauty Incarnate is a sixteen-year-old girl with an eighth-grade education 
from Farmers Branch, Texas. She is five nine and a half, weighs 1 19 
pounds, has long hair, high cheekbones, a perfectly straight nose, (law- 
less skin, a smattering of freckles, long legs, full breasts, fuller lips, a smirk 
that passes for a smile, and a few front teeth that would benefit from the 
attentions of an orthodontist. 

Her name is Bridget Hall, and over the last twelve months she has be- 
come not merely familiar but unavoidable. First, there's the rat-a-tat-tat se- 
ries of magazine covers she has appeared on this spring and summer, in- 
cluding Allure, Cosmopolitan, Elk, Mivahella. Mademoiselle : Vogue, and 
W. Then there's the comparably dh erse lineup of commercial campaigns 
she has appeared in over the last twel\ e months Banana Republic. Benet- 
ton, Chanel. Christian Dior. French Connection. Guess. Ralph Lauren. 
Ma\ bellinc. and Pepe Jeans among them. And then there's the all-star ros- 
ter of influential photographers who have lex-used their lenses on her: from 
Gilles Bensimon, Patrick Demai chelier. and Peter Lindbergh to Steven 
Meisel, Irving Penn, Herb Ritts, Ellen Von Unwerth. and Bruce Weber. 
And finally, there are the fifteen American designers who booked her to 
sashay down their New York runways tor the fall w inter '94 collections 
(which means that for the next six months she should be turning up regu- 
larly on Style II '/'/// Elsa Klenseh on CNN and FashionTelevision on VH-1). 

A Lone Star native in the Big Apple, clockwise from 

top left: Cashing in on her good looks; Hanes T-shirt, 

A.P.C. jeans. At Ralph Lauren's showroom wearing 

his tweed jacket, minidress, and leather vest. On the 

street. Lolita lives; Moschino Couture top. The face 

that launched a dozen campaigns. 

Why is Bridget Hall the model- 
ing industry's new $10.000-a-day 
(and rising) golden girl? What is it 
about this beautiful sixteen-year-old— 
as opposed to that beautiful sixteen- 
year-old— that effectively catapulted 
her out of the local mall and into the 
international limelight? 

To have someone who is both in- 
spiring to artists, photographers, and 
designers, and who is also mass-mar- 
ketable, is a very rare thing." offers Steven Meisel. "The fac l I 
perfect. She is classically beautiful her eyes, her mouth, her heacl 
legs, her height ... her honey-colored hair. But you don't get on ol 
unless you sell magazines. And you don't sell magazines unless | 
peal to the mass market. Bridget does." 

Francesco Scavullo, who photographs all of ( 'osnw's ^o\ ei 
sodic in his praise: "She's just one of the miracles that happen. Fl 
that fabulous body. Just look at that face! There are girls I can i| 
beautiful, there are girls Meisel can make beautiful, or Avedon. or 1 1 
But if somebody doesn't make this girl look sensational, the) sl| 
put away their camera." 


making of a mode 

Model behavior clockwise 
from right: Bridget's antidiet 
diet; Corinne Cobson T-shirt. 
Beauty in training. With 
Eileen Ford. Measuring up in 
a Ralph Lauren dress. Your 
typical American teenager?; 
Hanes T-shirt. Staring down 
the camera with her 
signature smirk. Details, 
stores, see In This Issue. 

Makeup artist Stephane Marais explains, "Cer- 
tain girls have a career because they have a specific 
look, and when the time for that has passed, it's passed. 
With Bridget, it's a classic way of seeing beauty." 
Marais's distinction is critical in understanding why 
some models come and go very quickly while others 
rise to the top. dig their $500 Manolo Blahnik heels 
in, and refuse to go away. Perhaps the most remark- 
able example of this last type is Linda Evangelista, a 
phenomenon who makes Madonna's attempts at rein- 
vention appear amateurish. (One model who recent- 
ly struck a provocative chord— which is difficult to 

translate into longevity— is Kristen McMenamy, 
whose success to date has been primarily limited to 
editorial work. But the serious modeling money is in 
commercial work— the more commercial the work, 
the more serious the money. Imagine the eyebrowless 
McMenamy peddling Pepsi and Blockbuster Video, 
like Cindy Crawford, or Maybelline eyeliner and Kel- 
logg's Special K, like Christy Turlington.) 

If the serendipitous mix of DNA and dumb luck 
explains the why of Hall's rise, the how of her ascen- 
sion is an altogether different story— one that suggests 
that a star model is not so much born as made. 

le making of a model 

In the summer of 1 987, when Bridget Hall was nine years old. her moth- 
er. Donna Hall, drove her in to Dallas to one of the Kim Dawson Agency's 
Thursday open calls. By Monday Bridget was at work on a catalog shoot 
for JC Penney. Donna recalls her daughter's first paid day in front of the 
camera, which was outside, during a heat wave, for which Bridget received 
$75 an hour: "She was wearing a wool sweater, wool tights, wool skirt, 
wool coat, wool beret, and they had 
her standing up on this little table 
with these reflectors. I'm sure it was 
108 degrees in the shade . . . sweat 
was just pouring down off of her . . . 
what a little trouper." 

Bridget soon became a regular 
not only in the JC Penney catalog 
but also in The Dallas Morning 
News, where she frequently ap- 
peared in ads for the local Macy's 
and Dillard's, as well as in the pa- 
per's Fashion! Dallas style section. 
Donna refers to this period as 'just 
fiddling around. I would pull her out of school 
every now and then, but it wasn't that often."' 

Somewhere between Bridget's twelfth and thir- 
teenth birthdays, her bookings began to drop off. 
The problem was that Bridget was five eight, too 
tall to be in photographs with other children. Don- 
na suggested that her daughter be switched over 
to the agency's adult division. She was told that the 
agency had never had a twelve-year-old in its adult 
division, although she was welcome to try. But she'd 
need a new set of photographs that would cast Brid- 
get in a more mature light. Donna hired a make- 
up artist and a hairstylist, assembled a wardrobe, 
and booked time with a Dallas photographer. She 
also bought a copy of the September 1 99 1 Allure, 
with Niki Taylor on the cover winking, which she 
instructed Bridget to imitate. 

According to Lisa Dawson, di- 
rector of the Dawson agency, the 
reaction to the new pictures was in- 
stantaneous: "All the bookers and 
I were just blown away." An addi- 
tional set of test shots followed. 
with now thirteen-year-old Bridget 
dressed in a two-piece bathing suit 
and a transparent net cover-up. 
One of the photographers who 
shot Bridget in her new . more ma- 
ture mode included a picture of her 
in the portfolio he sent to It Mod- 
els in Los Angeles, in hopes of getting an as- 
signment from the agency. Although It Mod- 
els wasn't interested in the photographer's tal- 
ents, theagenc) nonetheless called him to get 
Bridget's telephone number. Donna and her 
daughter were promptly invited to ll\ out to the 
coast, as they sa\ . at It Models' expense. When the Dawson Agencj got 
wind of Donna's plans. Lisa faxed photographs of Bridget to Ford Mod- 
els' founder and co-chairman. Eileen Lord, with whom Dawson had al- 
ways enjoyed a cordial professional arrangement. Lord immediately 
called Donna in Farmers Branch. "I'll never forget it." remembers I )on- 
na "It was like having the queen of England call. You have to understand, 
a single mom with two kids, just doing stuff in Dallas ... to have an icon 


of the industry give you a phone call to chat one afternoon. It \ 

Lord's call was more purposeful than the word chat suggests. ' 
sign anything with [It] ... we can do better." Donna remembers | 
saving. To prove the point. Ford asked Donna to accept two tic 

New York, which would be delive 
next morning. Off flew Donna a 
get to New York, where Fore 
arranged a suite at the Barbizon 1 
Lexington Avenue, and where two i 
roses were waiting for Bridget by I 
size bed she shared with her mot 
Donna tells it. that first March St 
night in Manhattan was magical: ' 
snowing these big fluffy flakes. Br 
was determined to gel up to the hi | 
floor she could, and when she fir 
she went to the window, flung it op 
hollered, 'HeUo, New York!" 
On Monday, Bridget and Dor 
out on the round of appointments— " go-sees'' 
Ford had scheduled u ith various photographe 
magazine editors, w hose reaction was an imp 
gauge by which the agency could measure Brie 
potential. ( Escorting mother and daughter o| 
rounds, and giving the go-sees Ford's imprir 
was agency vice president Bill Ford. Eileen's 
Endless go-sees filled Donna and Bridget's da\ 
by night they were wined and dined by their j 
friends at Lord. In the midst of all the excitemer 
agency presented Donna with a two-year com 
guaranteeing Lord 20 percent of Bridget's future j 
ings and stipulating that Donna would make i 
cisions about Budget's career without the agencj | 
vice versa. On Wednesda\ . Bill Lord took Dor 
to lunch and explained the hierarchical distinctii | 
een "catalog" models (the low end of the mc 
line) and "image" models (the j 
end). "He foresaw Bridget as a | 
age model in 'big campaigns, 
ports Donna, adding that I or 
eluded their lunch b\ sa\ ing. ' 
summer I want you and Bridti 
go to Milan." " By Thursda\ al 
noon. Donna and Bridget had | 

A good omen came at the er 
the week when YM magazine* 
Lord to sa\ they'd like the girl t 
been introduced to on Wedne 
be in Miami Beach the follow ing Monl 
Bridget and Donna flew to Florida \'o\ 
three-day shoot, then back to Texa 
I )onna returned to work selling furnitt 
doing the odd bit of decorating at the I 
Roche-Bobois store, and Bridget retur 
the eighth grade. At school year's end. Donna quit her job. scoute 
cheap plane tickets (by this time. Lord had explained that all exp 
would be deducted from her daughter's earnings), and she and Bri| 
flew off to Milan for the summer. A t> pical day consisted of eight i 
arranged b\ Riccardo Gaj . head of L'Image. another agency with j 
Lord has a close working relationship. Bridget's first paying job in 1 
was for Vogue Sposa. Her second was for Italian Vogue. 

Bridget, then and now, clockwise from top left: 

From the Dolce & Gabbana fall/winter 

1 993-1 994 catalog. Her composite card from 

Ford Models. Bare-kneed innocence at age 

eight. At age seven, with big brother, Josh. 

Italian Vogue, November 1 993. 


At summer's end, Donna and Bridget returned to Farm- 
as Branch, where then fourteen-year-old Bridget enrolled as 
a freshman at R. L. Turner High School. Six weeks into the 
semester. Bill Ford called: Bridget's Milan work was begin- 
ning to be published in Europe, and the response was sensa- 
tional. Kord went on to say, as Donna remembers: " 'I'm go- 
ing to leave the decision up to you, because we're talking school 
jhere. but after Milan, the next step is Paris. We would love to 
► have you and Bridget in Paris— now.' " 

Donna didn't have to ask her daughter twice: "Let's go." 
( Bridget got no argument from her mother about dropping out 
of the ninth grade. Donna explains: "Bridget was going 
nowhere in high school. My decorating jobs were deteriorat- 
ing. And yet here was this little light at the end of the tunnel .... 
. It's like. Who am I? — this little insignificant thing. You know, 
|d've got to keep my two kids and everything going here. I've 
got to keep encouraging Bridget." 

So Bridget and Donna took off for the City of Light. 
The idea was to stay three months, but when three months 
, had passed, things were going so well that Ford wanted Donna 
ijand Bridget to stay on through the winter and spring. After a 
Jlrip home for Christmas, mother and daughter returned to Paris 
J, where, in February, Bridget took her first tentative steps down 
jjthe runway during the spring/summer '93 pret-a-porter collec- 
tions. Undoubtedly, Bridget would have been booked for more 
ijthan the Kenzo, Chanel, and Comme des Garcons shows had 
(she not refused to wear high heels or coats: "I wouldn't wear 
(high heels, because I didn't know how to walk in high heels, and 
1 1 wouldn't wear coats, because they're more work. I was ner- 
Jvous. You have to take them off." 

Bridget's reaction to the bright lights of the big runway was 
, not positive: "I hated it." No surprise: The runway is an intimi- 
f dating place. A model is expected to saunter down 
| the elevated catwalk in high heels toward a blinding 
| wall of flashbulb-popping photographers while tak- 
| ing off a coat in a single fluid motion— no fumbling 
> with the buttons allowed. Bridget's self-conscious un- 
I tease that first season in Paris— "I felt stupid"— is rem- 
( iniscent of Claudia Schiffer's first wobbly walk down 
ll Chanel's spring/summer haute couture runway in 
January 1990, which was breathtaking not only for 
Schiffer's much-hyped resemblance to Brigitte Bar- 
jdot but also for the question that had the audience 
I on the edge of its seat: Will she or won't she fall down? 
Schiffer does much better now. So does Bridget. 
Steven Meisel. who took Bridget under his wing 
shortly after they met in Paris, explains why. "I tell her exactly 
what to do. But not only Bridget. Every single model. My pic- 
tures are about controlling the model. Then, with time, she starts 
giving you things back." Likening himself to Svengali, Meisel 
adds, "Most of them grow into it . . . they become their pictures." 
Which, according to Meisel, is inevitable. "Beauty is a strange 
i gift. A beautiful person is treated differently in our society, giv- 
en things that ordinary people do not get: a lot of money, a lot 
of attention. Their lives change so much — Some react to it 
OK, and some become a mess." 

Perhaps the most famous mess was Gia Carangi, the seven- 
ties model who, as the story goes, had to hide her arms behind 
her back for her final 1 982 Cosmo cover shoot because the in- 
fected needle tracks from her heroin addiction had destroyed 
her hands. Carangi, who ultimately died of AIDS, is an extreme 
example of a good model gone bad. More common are mod- 
els who simply become incorrigible brats, or develop eat- ^305 

^ft £I> 

Bridget in bloom: 
Hall's transformation 
from ten-year-old 
small-town schoolgirl, 
INSET, to the embodiment 
of this season's grown- 
up glamour, in a Richard 
Tyler scoop-neck silk 
dress. Dress, about 
$1,850. Saks Fifth 
Avenue, NYC; Neiman 
Marcus, Beverly Hills; 
Nuages, Aspen. Hair, 
Thomas McKiver_for 
Bumble and Bumble; 
makeup, Sonia 
Kashuk for Aveda. 

Fashion Editor: Brana Wolf 

Red is for from dead-os nearly every designer 
nnd mnl<Ri m artist demonstrates this season. 

and makeup artist demonstrates this season. 
But red lipstick offers a lot more than just a shock of color. 
It can even, Julia Reed finds, prove a test of character 

can tell you are in love because your mouth is different." 
Oh my God. It was a man talking, and I was quietly thrilled, sure I 
; s about to be both stunned and exposed by some soul-searing ex- 
ple of male clairvoyance. 
"What do you mean?" 

-Well, it's darker," he said. "Redder, more defined." 
OK. so the telltale nuance turned out to be M.A.C.'s Chili. But he had 
Dint. If I am in love, I feel sexier and less shy about calling attention to 
mouth. My lips were in fact darker, deeper, and certainly as close to 
as I've been ready to get in a very long time. "Red," says French make- 
irtist of the moment Stephane Marais, "makes the mouth a focal point. 
d isn't the mouth the part of the face that reveals the most sensuality?" 
i 5, and if you are in the mood to play up that sensuality, putting on 
lipstick is much simpler, less painful, and infinitely more sophisticat- 
han, say, shooting up your lips with collagen. There is something a bit 
perate about trying to make your lips puffy by any other means than a 
id round of out-of-control kissing and accidental lip biting. 
Red lips, on the other hand, are not at all desperate, but, says Marais. 
ovocauve and exuberant, a way of showing the sexiest side of a woman." 
lis book Bodywatching, Desmond Morris goes so far as to say they 
w sex itself— red lips signifying a secondary, and exposed, genital re- 
n. Whatever, there is no question that red lips are about passion and 
ire. It is impossible to think of them without remembering that famous 
)tograph of Maria Callas, mouth wide-open, unleashing a torrent of 
ver. The picture is in black and white, but you know her lips are red. 
Maria Callas was a Woman, grand and powerful and volcanic in her 
ptions, a diva after all. She would have been hard-pressed to under- 
ld the recent flirtation with the grunge look and waifs and clothes that 
de everybody look like little girls. Little girls don't wear lipstick (with 
exception of Paloma Picasso, who said she started wearing her trade- 
rk red when she was three); they have tantrums, not eruptions; they are 
chested and have mouths that no one would notice. A man I know has 
eory that women invariably chop off all their hair when a lover leaves 
m as a sort of desexualizing, just as the waif look was about removing 
races of glamour or artifice, except maybe dirt. "All that deconstruc- 
1 was fighting the tradition of femininity, denying the sex appeal of 
nen," says Marais, who was responsible for much of the new red on 
season's runways and who himself has created a line of red lipsticks 
Shiseido. "But it was to the point of looking ill and neglected. In the 
it could look depressing." 

In the first place, there are few among us who should be without at least 
uch of artifice, and anyway, women like artifice, probably more than 
It gives us a certain amount of control; it allows us to send signals. 
: man who literally read my lips knew from a simple change in color 
it was happening at the deepest level of my life. 
\lso, lipstick— serious red lipstick— enables you to hide. Makeup artist 
yyn Aucoin said he wanted the red-lipped models he sent down the run- 
/ for Todd Oldham to look like Marilyn Monroe on a Saturday after- 
q. The girls were almost devoid of any other makeup, and I knew ex- 
ly what he meant. Marilyn might be a mess, but she could smear on 
le lips, pull on some shades, and wrap a scarf around her head and be, 
ippear to be, OK. It takes a whole lot longer to do full eye makeup, and 
give you equal power. 

asked a colleague who has always worn red lipstick why, and she 
it was because she was too lazy to do her eyes. In a pinch we all need 
lething to help us face the music, the day, the prospect of rounding 
next corner. "It gives me confidence," said another veteran. "It's 
iggressive, you have to follow." During my misspent youth I had a 
nd who we always made buy the beer because she was never card- 
she put on huge Diane Von Furstenberg sunglasses and bright red 

lipstick before going into the store. It worked every time— instant 35, 
or at least, for our purposes, 18. 

Cleopatra used henna and cochineal (a red insect) ground to a powder 
to make her lips red. Elizabeth Taylor, playing her, probably wore Revlon's 
famous Fire and Ice, the "foolproof formula for melting a male!"-not 
that Liz needed it. The ad featured a quiz to see if you were up to the shade: 
"Have you ever danced with your shoes off? Do you sometimes feel that 
other women resent you?" 

This was pretty racy stuff for 1 952, but poets have felt the power of red 
all along. John Masefield wrote of the "dear red curve of her lips," while 
Robert Herrick extolled his beloved's lips as a "cherry, ripe, ripe, ripe." 
Juliet's lips were invariably "crimson" to Romeo, and Ella Wheeler Wilcox 
cut right to the chase with "I love your lips when they're wet with wine and 
red with a wild desire." OK, she was a woman, but she touched on a key 
point, which is that red equals wicked or sex crazed or both. "Her lips were 
red, her looks were free," Coleridge wrote, and we all know what free is a 
metaphor for. I asked another colleague why she wore red lipstick, and 
she didn't miss a beat: "Cause I'm a 'ho." 

The man with the hair theory uses rather tortured logic to explain why 
women who wear red lipstick may be free but not truly wicked. "The great 
virtue of red lips for women is that they can leave the mark of Cain, there- 
by cutting down on blatant bites." In other words, wreaking havoc with lip- 
stick on the collar is sweeter than drawing blood on the neck. This is obvi- 
ously a big thing with men. I asked another man if he thought "sexy" when 
he saw a woman with red lipstick. "No," he replied, looking rather pained. 
"I think messy, telltale, shirt collars, that kind of thing." Keep in mind that 
the Duchess of Windsor wore red lipstick, though she was not a woman 
you would necessarily call sexy, either. Whatever it was she undoubtedly 
had, you couldn't tell it from that uptight red slash that was her mouth. 

My grandmother wore red lipstick. She left its imprint on countless 
butts of Pall Malls in ashtrays throughout her house. I still have one, pressed 
inside a book like a flower, but that lipstick-stained butt is somehow a more 
fitting remembrance. Red lips demand something— an attitude, a beauty 
mark, a temper. My grandmother had all but the beauty mark (she pre- 
ferred jewelry), and there was no question she was up to the color. My 
mother didn't have to be, since she spent her glamour years in the silver 
sixties. She still wears frosted pinks and corals. But she has always been af- 
ter me to wear red. When she sees me in my normal brown or nude she 
goes nuts. She is convinced it's a sign of some deep-seated trauma, like 
when I was a child and hid my thumbs in my fists. If I wear red she knows 
I'm happy, or at least I look it. 

Indeed, says Marais. "Red lips bring freshness to the face. They are 
gay and amusing, especially when you are not used to seeing women in 
them." I had a fiance once who wanted me to have blond hair and red lips, 
so I did. But I did not feel gay or amusing; I felt ridiculous, false. And for 
years afterward I wore nothing but black clothes and brown lipstick, as 
penance, I guess, for having led everybody, including myself, on. Red lips 
are not something you should acquire because somebody asks you to. You 
have to mean it. 

Makeup artists would have us believe the new red is more real and fresh 
and natural-looking than the glittering hard seventies red or the over-the- 
top, wet-lipped movie-queen red of the thirties and forties, and it is. Still, 
the girl at the Chanel counter told me that most people feel safer with corals 
and browns. Marais insists that any skin tone can handle red and that it 
"illuminates" the face. And I read the other day in an Irish newspaper that 
the darker the red the greater the protection against the sun. But I don't 
think that's why the wary may switch. I suspect it will be for the thrill of 
wearing colors called Glam and Outrageous and Drop Dead Red, of forc- 
ing men to think about their collars, fearfully or not, of seeming confident 
and sexy and maybe just a little in love.« 

syond the pale: The new red mouth-ultraglossy and well-defined-makes the matte lip a thing of the past. Estee Lauder Double Color 
Everlasting Lipstick in Rouge Rouge. Necklace by Tiffany & Co. In this story: hair, Thorn Priano for Garren, New York, 
at Henri Bendel; makeup, Mary Greenwell. Details, stores, see In This Issue. 

Fashion Editor: Phyllis Posnick Photographer: Ellen Von Unwerth 






some decades the sexy scarlet fingertip burns bright, 
'hile in others it dies down to barely an ember. 
Liny Astley nails down the history of the crimson 
anicure and discovers why red looks right again 

)ed fingernails. Coco Chanel loved them. Diana Vreeland 
painted not only her walls flaming red but also her fin- 
gernails. (Toes, too.) Those madly elegant models of the 
V1950s-Dovima, Lisa Fonssagrives-Penn, Suzy Parker- 
held their long-stemmed cigarettes between thin fingers 
invariably tapered to perfectly groomed crimson nails. Palo- 
Picasso's red fingertips match her famously red lips; she sells 
signature crimson nail enamel and lipstick under a single sassy 
niker Mon Rouge. And a few decades before Barbra Streisand 
mlarized the dread French manicure among the Hollywood 
all of the most glamorous screen sirens— Ava Gardner, Rita 
yworth. Rosalind Russell— wore red. Make that seriously sul- 
no doubt about it, drop-dead red. 

Part of the undeniable allure of the scarlet nail is that, despite 
ing received the stamp of approval from an armload of ar- 
:rs. red has never really shed its essentially racy reputation, 
i leads a seductive double life: Classically ladylike yet also scan- 
Dusly brassy and even a little wicked, red was. after all, the col- 
_)f choice for both the Duchess of Windsor and Gypsy Rose 
:. Either way, red has in-your-face attitude. 
\nd now, after an all-business decade of matte brown lip- 
k; androgynous, earth-toned pantsuits; and proper (but pre- 
able) nail polish ranging in shades from barely there beige 
)alest pink, red is on the rebound. It's no coincidence that 
as fashion gets fun again— fake fur! patent leather pumps! 
yl dresses!— beauty is brightening up, too. Ultrared, em- 
tically shiny lips made a strong showing on every runway 
fall, often paired with nails painted playful, flirtatious, all- 
nan red. And why not? We may be living in the high-tech age 
he information superhighway, but we can, at least, have deca- 
,t red nails. Nails that chip. Nails that scream high mainte- 
ce. Nails that say "I'm too sexy to even consider pale pink." 
ockout, non-PC nails. 

loodred nails were the height of fashion in the 1930s; they 
trasted with the Jean Harlow-inspired white satin gowns and 
inum hair sweeping the nation. (In unshockable Paris, emer- 
|green nail lacquer was considered an equally stylish option.) 
then novel notion of matching one's lip and nail color caught 
and women chose from shades with oh-so-evocative names 
Lido Crimson, Riviera Red, and Palm Beach Coral. (Al- 
gh modern beauty gurus shudder at the matched lip/nail sce- 
io, it looked fresh rather than old-fashioned on several influ- 
al runways this season.) Red enamel continued its reign in 
(forties, feminizing tailored suits and providing a coquettish 
|for women working in wartime factories. But it was during 
fashion-crazed fifties, with dark-fingertipped icons like Babe 
y setting the pace, that the sophisticated red manicure be- 
e de rigueur for the woman who took style seriously. Then, 
ow, serious style came with a price: laborious weekly upkeep 
lots of drying time. 

By the sixties red had run its course. Chic be damned: Wood- 
stock hippies had no need for less-than-natural nails, and those 
emulating Twiggy's little-girl look teamed their pale lipstick with 
nail polish in modish shades of ivory, silver, or beige. Although 
Vogue predicted a mid-sixties comeback of red— on the pinky fin- 
ger only— this did not come to pass: For those enamored of glam- 
our, the fifties, sadly, seemed to mark the heyday of the really red 
nail. Even during the get-ahead eighties, a decade that seemed 
uniquely suited to aggressive red talons, red was definitely to be 
avoided among career-ladder climbers. The high-maintenance 
red nail, worse than being just a breach of office-approved good 
taste, was deemed proof positive of a reprehensible lack of in- 
dustry, and no wonder: A perfect red paint job fairly shrieks of 
idle hours at the salon. 

Even as the practice of weekly manicures has boomed in 
the last decade among working women (with a nail sa- 
lon on nearly every corner in cities like New York), many 
cosmetics companies are facing the nineties by actually 
cutting back their color offerings. "Our customers tell 
us they only want nail shades in neutrals or red," says Carol Mal- 
ouf of Elizabeth Arden, who calls red "the new neutral." In re- 
sponse to that message, Arden has edited its 22-color spectrum 
down to just 5 core shades, including 1 red. And Shiseido made 
a similar move, gradually eliminating all but 6 of its original 18 

But even something as eternally chic as red can stand a little 
updating, and backstage at the recent fall collections, manicurists 
were hard-pressed to get their hands on the new color of the mo- 
ment: a punkish, nearly black, red. No matter; many of them sim- 
ply made it themselves. Sheril Bailey, whose handiwork is shown 
on the opposite page, says she blended "drugstore black" with 
burgundy to create the streetwise, edgy "eggplant" she used at 
Liza Bruce's gritty show; and designers Corinne Cobson and Gi- 
anni Versace, both wary of red enamel's retro, high-glam over- 
tones, opted for the gloom-and-doom dreariness of black at their 
spring shows. This month Chanel introduces a new purple-black 
lacquer called Vamp, which every model on its fall runway wore; 
the unexpected color provided nails with a dose of wacky, any- 
thing-goes glamour that suited the lighthearted spirit of the clothes. 
The only rule of thumb, according to Bailey, is to keep nails 
clipped. "Short, dark nails are so chic, and much, much more 
modern than long." 

"Red is all about artifice," says designer Todd Oldham, who 
is currently smitten with black "dragon lady" enamel and pro- 
fesses a desire to see lots of chipped, slightly tawdry polish this 
fall. "Whenever fashion celebrates iconic visions of women, red 
polish is right up there on the Barbie list of female affectations," 
he says, adding, "It may not be politically correct, but it's so 
damn sexy it makes you sweat." • 

Painted lady: Scarlet-slicked nails set a provocative tone for lunch with a temptress. Yves Saint Laurent Nail Lacquer #1 

in China Red. Shirt by Marc Jacobs. In this story: hair, Thorn Priano for Garren, New York, at Henri Bendel; makeup, 

Mary Greenwell; manicure, Sheril Bailey. Details, stores, see In This Issue. 

Fashion Editor: Phyllis Posnick Photographer: Ellen Von Unwerth 


Erickson Beamon 
for Anna Sui 


For those who arPweary of hun^drunji hfts, the fall fon 

couldn't be mote dazzling. SiddenBcolor and shi 

have returned, appearing on ever\^rai|from Lucite crv 

to rhinestone-sfl!i«ed boots tcjmfljbags and heel 

of ^fery possiblorBade 


Fashion Editor: Candy Pratts Pric| 
Photographer: Carlton Davis 


H. Kauffman and Sons 

Saddlery Decorated 

by Stuart Freeman 






' * 


nt leathe 

bright ideas 

is there a future 

From every woman's dream to the stuff controversy is made of, 
the fur coat has been both revered and reviled over the years. 
Now, with sales up, public opinion down, and designers somewher 
in between, Suzy Menkes wonders if anyone 
^^^™ can revive fur's glamorous image 

h>. Marc Jacobs shearling coat is traffic-stopping bright— 
a gaudy sherbet orange, flashy, trashy, on the precipitous 
edge of bad taste and great fashion, wrapped taut to the 
body as the model teeters out on high heels. 
It is about as far as fur can go from the double-breasted ranch mink 
walking out of Lincoln Center on a frosty fall evening. This sturdy coat 
could have been designed and made any time over the past decade— al- 
though its wearer appears to be only in her thirties. The coat may have 
added a few years to her age and a couple of inches to her hips, but it is 
keeping her warm, while also fulfilling fur's time-honored role of making 
her broker husband feel that he has made it. 

In that crowd at Lincoln Center, dotted among the cloth and down al- 
ternatives, is the spectrum of modern fur. There are some classic mink 
trenches, but mostly the sporty furs that are the current look from Madi- 
son Avenue to Avenue Montaigne: shearling duffle coats and parkas in 
flat sheared mink, muskrat, beaver, or occasionally cloth with sable lining. 
There are what passes today for evening fur— dark wraps of velvet-soft fur. 
or maybe even a vintage Oscar de la Renta shawl from 1 973, which he de- 
scribes as "an old Indian challis, slightly quilted, trimmed with sable tails." 
"Mostly what I see are capes with fox trim or the big scarves, quilted, 
looking like velvet, maybe in beaver," says Blaine Trump— although she 
herself only brings out her "old raccoon coat" in subzero temperatures. 
"I have the most glamorous thing," says Susan Gutfreund. of her Fendi 
coat made of deliberately unidentifiable fur hidden under mesh. "The 
outside is veiling; one piece looks like a shawl so that I can let it drip. There 
is plenty of arm room, like a poncho. It's the opposite of these heavy con- 
structed furs that we used to think were glamorous and wonderful." 

Ah, that outdated dream of deluxe. The dilemma for fur now is that 
its legendary glamour is associated with the past. While a few houses at- 
tempt to project it into the future, unless the industry as a whole can find 
a way of appealing to a new generation, fashion may be even more ef- 
fective than the animal-rights activists are in turning stylish backs on fur. 
For fashion-aware women, even those with no interest in causes and 
issues, fur at its most classic is often a turnoff. Or as Trump puts it: "There 
is nothing that is terribly chic in Fur Land." Faced with ads of models 
draped in glossy pelts— all tumbling blond hair and Dynasty lip gloss— po- 
tential customers might have a sneaking sympathy for Christy Turling- 
ton. In the striking billboard campaign by PETA (Washington, 

D.C.-based People for the Ethical Treatment of Animals), a clotl 
Turlington declares, "I'd rather go naked than wear fur." 

Yet fur figures are no longer in free fall. In spite of public per 
that business is bad, sales have climbed 1 9 percent in the past two| 
according to the American Fur Industry. (Although there is no ( 
the impact of animal-rights activists, the recession seems to have 1 
main culprit for fur sales slumping from $1.8 billion in 1 987 to til 
rent $ 1 .2 billion.) The recent rise is probably due to several factel 
eluding energetic marketing to address the anti-fur sentiment of cl 
ties such as Kim Basinger, Brigitte Bardot, Naomi Campbell, andTI 
ton. The Fur Information Council of America ( FICA) last year lau I 
the slogan Fl R . more than any other fabric— an admittedly nl 
of-the-road campaign, but one that suggests fur can compete withl 
Sophia Loren recently joined the pro-fur voices by appearing wrj 
in mink in new ads for Annabella Pellicceria, an Italian fur-makeif 
New York furrier Gus Goodman even spoofed the PETA campaiij 
ing a naked man reclining on a fur blanket. 

But what the industry really needs is new designer blood to tak<| 
yond the swingy marmalade mink beloved by southern Europea 
beaver bathrobes knotted against a Connecticut winter, and the i 
tous hooded fur parkas. However practical they are, such styles ; 
delibly associated with 1 980s power women and upscale spor 
thus demode for young women today. 

i can*t do fur according to rules that belong to a different gd 
tion," says Marc Jacobs, who has signed up with Birger Christen! 
do fur, including the neon-bright shearlings that he showed in his f«l 
lection. "There is no point doing the fur you see on every other Mfll 
woman— three tiers of natural fisher or mink. Nor for me to do i| 
dyed mink. It's not that I'm against it-it's an aesthetic issue." 

Karl Lagerfeld agrees that there is no room for safe and stolid I 
a designer line. He says that at Fendi they do "normal, basic mink cl 
but not for the runway, because "it's not right in terms of fashion. " 
no other philosophy than to make fur modern." he adds. " Younl 
don't dream of a fur coat as an image of luxury. That kind of glai| 
girl dream relates to their mothers and aunts." 

The fashion cycle is always generational: What initially seems cl 
and innovative later becomes accepted and ultimately deemed boul 
and boring. First. Marilyn Monroe was a glamour-puss with mink dJ 



Neon sign: Shearling is the fur 
of choice this season, and here 
Marc Jacobs gives the fabric a 
modern edge by dipping it in 
acid-bright color. Marc Jacobs 
for Birger Christensen coat. 
Ultimo, Chicago; Neiman 
Marcus; I Magnin. Hair, Guido 
at Toni & Guy; makeup, Dick 
Page. Details, see In This Issue. 

Fashion Editor: Camilla Nicker; 
Photographer. Juergen Teller 




It was a heyday or 
Hollywood glamour 
for stars like Ava 
Gardner, Marilyn 
Monroe, and 
Elizabeth Taylor— 
and for the fluffy furs 
they wrapped in. 


to her breasts— every woman aspired to a mink— and then it became a 
dowdy benchmark of matronly status. Fur last generated high-fashion 
excitement in the 1960s, with "fun furs" in lapin and pony and the hip- 
pie afghan coats trimmed with Mongolian lamb. They culminated in 
1 97 1 with Yves Saint Laurent's Carmen Miranda couture collection 
green and white fox chubbies with orange pantyhose and ankle-strapped 
platforms for a "happy hooker" look. It scandalized society then: "com- 
pletely hideous" proclaimed the International Herald Tribune. But the 
YSL furs, while shocking the old guard, hit precisely the mood of the 
young. Even while she slammed the show, fashion doyenne Eugenia 
Sheppard prophesied: "Not that Yves's silver fox chubbies . . . won't be 
wonderful camp for the girls who never wore them." 

So who are the designers today who are going to come up with some- 
thing wonderful in fur that announces, "Mother wouldn't like it"? Marc 
Jacobs could be one, for he sees those 1 97 1 YSL fox chubbies and their 
on-the-edge sophistication as a reference point for modern times. "A new 
generation wants to look chic, and chic is a seventies word," he says, adding 
that "hooker fur is a fad— anything questionable is kind of chic." 

More designers than you might think are still working with some kind 
of pelt. Fur trim or shearling is used by directional designers 
like John Galliano, Jean Paul Gaultier. Isaac Mizrahi, 
Gianni Versace, Christian Lacroix, and Richard 
Tyler. And those treating a wider range of furs 
include Gianfranco Ferre, Karl Lagerfeld in 
his own label. Marc Jacobs, and Valentino. 

Saint Laurent is still in there, and his 
current collection shows how to make 
fur modern. For fall there are the 
chubbies in black Mongolian lamb 
with brilliant satin linings. Vivid mo- 
hair plaid coats and shawls are 
edged with matching four-color 
fox for the essential splash of 

1990s doubtful taste. 

Although Calvin Klein and 
Donna Karan have both recently 
and publicly pulled out of fur. they 
are still using shearling. "Shearling 
doesn't scream a luxury thing it's 
in the category of a leather belt." saj > 
Klein. "I didn't feel good doing some- 
thing that can be so wildly expensive- 
and so many young people are passion- 
ately against killing animals. It doesn't 


seem like a modern thing to be doing, because a really, truly i 
woman is not wearing fur." 

Is it significant that noncontroversial shearling seems to be hav 
the fun in fur' 1 "Shearling is the public, accepted fur of the 1 990s,| 
Lagerfeld. He used it in his Fendi collection with irre\ erence. ba 
with sampler stitches or stirring it in with rings, rubber covers, me 
hair, and Mongolian lamb. Shearling was served up short and sweet I 
Isaac Mizrahi sent out aqua and bubblegum pink jackets over f 
sweaters, and Anna Sui's pink and black shearlings even held the 
against the flood of fake furs in her fall collection. 

Fur aping fake as opposed to the other way around is the b I 
fur fashion story of the season. Why? Is it just an ironic comment^ 
modern attitudes to luxury? Or is dyeing fur in the most "ur 
gaudy colors merely designer camouflage for the woman who < 
subjected, as Trump puts it. to "screaming and yelling"? Althoug 
Saint Laurent did not do fakes because, according to Jurgen 1 
who works with Saint Laurent in the fur studio, "we've seen so i 
from designers like Vivienne Westwood," the collection does inc 
panther-print velvet jacket, a reversed-calf safari jacket, and a < 
fake Persian lamb duffle.. 

Fur designers who are at fashion's cutting edge are even going j 
as to work real pelt in the image of fake. Jacobs's curly -lamb coll 
satin jacket is that kind of "is it or isn't it?" look, which was the entir 
it of Lagerfeld's Fendi collection, where a typical outfit was 
leather coat trimmed with real chinchilla and lined with fake Persian, j 
off the runway you literally could not tell by touching what was < 

The combination of Lagerfeld and Fendi over three decades has 
Fendi indisputably fur's high fashion leader. Susan Gutfreund < 
symbiotic relationship, which started in 1965. "their genius and I 
ativity." resulting in a modern fur that keeps reinventing itself i 
with fashion. The overall Fendi achievement has been to serve up ; 
free" fur: slim, light, richly worked but never indigestible. Technii 
the pelts have been perforated to make them airy and are pieced U J 
er with a light hand. The spirit has been irreverent, even funky. Carl. 1 
di. one of the family's five sisters, explains that the idea was to moj 
from a museum piece to a throw-it-on style. (Oscar de la Renta sa J 
like what Karl Lagerfeld has done taken the fur-makers stamp 1 1 
fashion.") Together, Fendi and Lagerfeld can claim to haj 
vented fur as we know it: sables slung over bluej| 
fur-lined parkas, fluid shapes, weightle 
and a modern attitude. 

But Hendi's recent offerings I I 
_ further still: disguising. destro\ 
concealing. The last make-il-fa 
lection angered traditional fu 
who are concerned that 
feld's tricks destroy the i 
beauty of fur and its cla 
boring image that re 
the regular customer. * 
Fendi does not accept 
their recent furs li 
part of "destroy" fa 

The sixties was a decai| 
of fashion flux, and fur 
proved no exception, 
extreme: the opulent flc 
length mink shown in Vo 
n 1 964, CENTER left. The < 
/ end of the spectrum: Pac 
Rabanne's mod, metal- 
accented fur miniskirt and 
cropped coats, BOTTOM LEFT. 

In keeping with the 

luxurious spirit of the 

decade, fur in the 

eighties— as worn 

by Ivana Trump, 

TOP, and Carol 

Channing— regained 

its traditional, 

glamorous image. 

•claims that it can be "more intriguing" to have something 
hidden that it is a bonus to have "the softness, and the 
mh" on the inside, 
(ut why should modern fur hide its face? Sure, some 

• ten are running scared of protesters; but the tradi- 

U opulence and luxury of fur may make others un- 

t fortable. According to Ralph Romberg, a vice pres- 

^ t of Neiman Marcus, the "flat" furs like shearling and 

L lamb, or sheared mink and dyed chinchilla are in fash- 
while longhaired fox is not. In the same vein, Joseph Boi- 
i, senior vice president of Bergdorf Goodman, says that 
idem furs are those that don't have a real animal look 

) it them-they are sheared, treated, dyed." 

fther fashion luxuries have been reinvented for the 1 990s: 
nere in quiet colors or slithering silks for slinky dresses. 
there a modern equivalent in fur? 
lagerfeld believes that he has found it. "To me ermine 
i» fur, because of the touch and because it is weightless, 
ill. Take a big shawl in ermine, dyed black-people think 
I naterial. You can travel with it, and it does not weigh 
impound.'* ( Pursuing modern fur to its luxurious condu- 
it would be not to wear the ermine but to use it at home. 
1 sleep under fur is the most refined, elegant thing in the 
lid," Lagerfeld says. "An ermine sheet is refreshing, 
phtless, better than anything woven.") 
Other designers have different ideas about nineties fur. 
What's gone is evening fur per se— the little white mink 
:et-that's finished," says Arnold Scaasi, who has been making furs 
ie 1962. 'It's a much sportier look worn after five just as well as dur- 
fhe day." His current collection for Mohl Furs includes a gray cash- 
mere duffle coat lined in reddish 
sable-colored mink. "Furs have to 
have some humor, there has to be 
some fun," says Scaasi, picking 
from his collection a peacoat in 
navy cashmere lined with mink, 
and a sheared beaver bolero with 
a quilted lining. 

Scaasi believes the fashion fu- 
ture of fur lies with curly lamb as a 
natural follow-up to shearling. Kim 
Major of Birger Christensen sees 
a growth market in shearling treat- 
ed to look iike wool; Mongolian 
lamb; astrakhan; and Persian lamb 
sueded and dyed on the reverse. 

Valentino and de la Renta 
(both doing furs for Alixandre) 
pick the "warm bathrobe" and the 
"fantastic sable wrap" as the acme 
of modem fur. Those might sound 
conventional, but there is still a 
market out there for young women 
|>t funky in the seventies, thanks who want fur in the traditional 
Mo Yves Saint Laurent's "happy way— and maybe that is why the in- 
'"-' J ' ii - dustry is content to stick with a con- 
ventional look. 

Alexandra Lebenthal, a 30- 
year-old Wall Street mutual-fund 
:ctor, is proof that some young women still aspire to fur— but as a 
«; lbol of their own achievement, not their husbands' status. She de- 
bes the mink coat she bought five years ago as "a very classic style, 
mostly male industry, women want to make themselves look more 

is there a future for fur? 

sophisticated and mature. It is a signal to others that you 
have attained a certain level— the same as acquiring a Chanel 
bag or suit." Lebenthal deliberately avoided a "trendy" fur 
as not appropriate to her own life, because it was "rather a 
large expense" and because she expects the coat to 

Slast for ten to fifteen years. 
Romberg says that although mothers still buy fur- 
lined raincoats for daughters going off to college, the change 
in his lifetime has been the rise of professional women clients. 
"Thirty years ago it was unthinkable to sell a fur to a woman 
without her husband," he says. 

Yet like any other fashion, fur ought to occupy the middle 
ground between the runway's shocking pink shearling and 
Wall Street's conservative sheared mink. Although Vera Wang 
does not design furs, she has worn fur herself and complains 
that she doesn't "find a lot of things that I feel are contempo- 
rary." She now has plenty of ideas about what could be done 
to make fur young and modern. "There would be a wonder- 
ful way to do fur— less ostentatious and fun to wear," she says, 
suggesting "taking fur more into pieces" rather than the in- 
evitable full-length coats. Her visions for fur include broadtail 
vests to be worn under a jacket, mink vests to pop over a pair 
of stirrup pants, and sweaters and jackets done in a sporty way 
to take the "ladylike edge" off fur. 

The most modern-looking women are downtown wear- 
ing flea-market furs: close-fitting 1 960s kidskin coats worn 
over thick hose with combat boots; wild-haired chubbies lay- 
ered over long skirts; and shearlings with narrow shoulders and tiny 
armholes, which was the silhouette Jacobs reworked. 

Eleonora Attolico, 28, who lives and works in New York, says that 
while "girls from Greenwich, Connecticut, from the best families, want 
to wear conventional fur," she "would never wear fur seriously." How- 
ever, she does admit borrowing 1 960s fur hats from her mother and frol- 
icking around SoHo in a "ridiculous" New Look fur coat with a tight 
waist and full skirt. 

As with so much current fash- 
ion, it is not the clothes themselves 
but the attitude that is important. 
Although most women aren't go- 
ing to wear thrift-shop furs, the flea 
market offers fur to a new gener- 
ation that wouldn't wear what 
mother currently has in her clos- 
et. As Lagerfeld says: "When 
daughters start to hate it, mothers 
should forget about it. And what 
youth does now, the older women 
want a few years later."* 

)t funky in the seventies, thanks 

ro Yves Saint Laurent's "happy 

'oker"-style dyed fox chubbie, 

f 4TER. Other signs of the times: a 

jammed maxi and a free-flowing 

fur poncho. 

For more on the future of fur, see 
"'Rethinking Your Fur," page 300. 

These days, the faux/ real 

distinction is as fuzzy as the 

fabrics, with the two often 

combined in one coat. At Fendi 

an alpaca wool coat, TOP tEFT, 

gets trimmed with real 

Mongolian lamb, and a synthetic 

leather coat is mixed with real 

chinchilla, above right; Anna Sui 

goes for faux, BOTTOM LEFT; Marc 

Jacobs gets real— in mink— for 

Birger Christensen, bottom RIGHT. 

Details, stores, see In This Issue. 



idylike cut-the 
knee skirt- 
to ward a 


.Agnes B. 
J8. Agnes 
site PA«fe Last 
is now grown 
hanced by little 
rate watch, 
nd the polish 
dio crewneck 
nd cardigan 
Griffin, NYC; 
nue; Shirise, 
larles Edwin, 
Bruce skirt, 
jorneys New 
krf Goodman; 
Newport Beach 
ur^ftach CA. 
see In This Issue. 






H F i 

llustrate the season's more sophisticated mood, office wear 
aring down, both in shape and in price. Colored in tones 
moky gray, the basic elements— man-tailored pantsuits, trim skirts, 
body-hugging knits— convey a feeling of classic, 
inine refinement 


Cut into a 
shape and 
knits, the 
new body 
(about $3 
(about $2 
Avenue. J 
Barneys N 
also at the 
Boston, C 
Cento x C 
vest, abo 
Herald Sq 
Atlanta; Le 
gray woo 
jacket. Ag 
Mizrahi s 

■iy Icel erg 
17. Mc cy's 

Isaac ion's, 
B, Cana Ja. 
: A classic 
imakes a 
I point in 

Mb red 
J wit i. sleek 
texh bits a 

iJousr bss. this 
flein jacket 

fid pa its 

Saks F fth 

fork. P ints 
i Klei i Store, 


Pa tern 
B. pant:, about 




store: . 

ir, abo jt 
$305. Bergjjorf Gooc man; 
Marshall Field's; Non Istrom, 
BloomingtonMN. De 

more stores, see In Th s Issue. 











dress for le. 

dress for less 

m. v#. 


Traditional suiting fabric 
revealing twists, showin 
shapes that move easily 
office to evening, this m 
By day, the demure cap 
provides cover; after fiv i 
opens up over a sexy he 
Michael Kors cardigan 
$230), halter (about $2 
pants (about $395). Be I 
Goodman; The Gazeb 
Cardigan and pants als< 1 
Marissa Collections, Nek 
For hair this sleek: Paul / < 
Hair Sculpting Lotion, o 
page: The new work-wor| 
version of the little black I 
leggy, charcoal gray sh | 
Calvin Klein dress, aboi 
Bloomingdale's; Saks Fi| 
Avenue; the Calvin Kleirf 
Boston, Dallas. Inthissti 
Thomas McKiver for Bur 
and Bumble; makeup, I 
Hirsh forTrish McEvoy, 
Details, see In This Issue 





Editor: Hamisl 


Mr 71 



the desk set 

Today's liveliest offices afe as witty as they are efficient, as expressive of 
personal style as of corporate power, finds Hamish Bowles 

"v**^ * 

Idn't want the traditional music-industry power look," says Tom- 
[y Boy Music president Monica Lynch. To design the mid-Man- 
jittan setting where she works on projects with such performers 
[Paul, Naughty By Nature, and Coolio, she turned, not surpris- 
| to her close friend, designer Alex Locadia. "His look is African, 


futuristic, and fifties all together," says this hip-hop Rita Hayworth 
whose personal style is as eclectic as her office, mixing Todd Oldham's 
ironic glamour with state-of-the-art street sportswear. 

Locadia used shapes that might have come from a Hanna-Barbera 
cartoon but modernized them with a natural palette. He turned ►292 


Lynch's office into a funkster's paradise of gold-leaf 
wall panels, Mali mud-cloth pillows, and pan-cultural 
spear lamps. A wryly feminine touch, the drawer han- 
dles on Lynch's cabinet and curvaceous glass, steel, 
and mahogany desk are elaborate silk tassels. Lynch's 
desk also bears her most treasured office possessions: 
a basketball signed by the Knicks and an inscribed 
photograph of Frank Sinatra. 

Lynch's office exemplifies the new tone in office 
design, sleek but clearly not stuffy. What the best- 
dressed desk is wearing this fall is likely to be 
laced with wit. The desk itself might well 
be designer Patrick Naggar's lean and 
ladylike Mercure table, in cherry 
and aluminum with its dainty 
Sepik chair (8). Status brands are 
also playing around with desktop ac- 
cessories; witness Bulgari's signature col 
umn base transformed into a high-style notepad 
(7); Hermes's equine-handled scissors (11); and 
Tiffany & Co.'s sterling-silver pencil sharpener ( 1 0) 
and tape dispenser (3). Elsa Peretti olays a double 
game at Tiffany, with her twist-form pencil holder 
made, surprisingly, from pressed leather (12). 

Visual puns continue with Paul Smith's droll cast- 
steel "rubber-band ball" paperweight by Sally McCul- 
lough ( 1 ) and Hermes's comical conical ballpoint pen 
(9). On a more serious note: D.F. Sanders's chic per- 
forated-metal file holder (6), paper-clip dispenser ( 1 3), 
and desktop address file (2), and MXYPLYZYK's sta- 
pler (4), which take office staples into the future. 

And for those all-important contact numbers, the 
Littie Red Book from chic London stationers Smyth- 
son (5) proves essential reading. • 


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i J (m 

Linda Evangelista 

What is the news about skirt 
lengths? At night, anything goes. 
Those who can pull off the shortest 
looks should, and do. The longest 
lengths are the hardest; one can 
appear dated. And fashion types 
are consumed by the new length- 
skirting the knee (left.) Calvin Klein 
showed lots of the new length in 
his fall collection. Asked if he was 
advocating a fashion revolution, he 
explained that, in fact, this is the 
length most women across the 
country actually wear. Bill Blass 
gave ball gowns the slip this 
season, observing that women 
seem to prefer the cocktail dress. 
But with fashion being as 
tempestuous as it is, some 
theorists are predicting that big 
ball gowns may make a comeback 
soon. If every other decade can be 
revived, why not the 1980s? • 

TALKING. . . *-296 

Black magic 

Brooke Astor 

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By Athena Starwom; 

Pluto— the planet of rebirth and transformation— has been retrograde 
of phase) since March. This month the vibrational shift created by P 
moving forward again will propel previously suppressed issues (both in J 
larger scheme and in your personal affairs) to the surface. What is rev< 
in August may answer many questions. But be prepared: That which 
to light may not be all good news. Pluto's energy can expose truths 
some would prefer left in the dark. 

Like ancient shamans facing initiation rites, Leos have recently had 
inner strength and faith tested by their own personal and professional f 
Until they learn the lessons of these tests, some Leos are unable to 
on to the next level of operation. But for most, these lessons are all 
completed. The crossed swords and locked doors they have repeat* 
encountered will disappear during November of this year and, like 
Phoenix, most Leos will soon rise triumphantly from the ashes of 1 1 

LEO (July 2 3- August 22) 
As the new birthday year commences, Leo, you are close to regaining your true lij 
strength and heart. A gradual reawakening of your self-confidence will help you er 
from the labyrinth created by self-doubt and confusion. Important news arriving 
tween August 3 and 1 8 will open up new options. However, prepare yourself als 
dramas to occur; they wont deter you for long. Wisdom won from past trying ex:j 
ences has made you independent and resilient. What occurs this month will put t| 
two talents to excellent use. 

VIRGO (August 23-September 22) 

The month before birthdays is often a low astro-biorhythm time, one in which intend 
sources are diminished. August is the ideal time for Virgos to rally their inner and c 
forces and spend time updating priorities. Goal assessment can launch you well prepj 
into the new birthday cycle. Work at getting your spirit and confidence to soar, and 
fun. To achieve this, put to rest an upset you have had (or are currently having) with a 
ily member or partner. Faith, rest, and reflection can prove invaluable now. 

LIBRA (September 23-October 22) 

With the love star Venus (your ruler) in your sign this month, relationships are acce 
ated. This astro-influence will encourage you to venture into strange and unusual ' 
ness liaisons, friendships, or romances. However, be aware that you are likely to j 
consciously erect barriers around yourself because you've been hurt: Past events f 
made you "once bitten, twice shy," and your trust in others is at a low ebb. But this 
tude can work against you. Fear of being betrayed again can stop you from givinj 
other the fair chance he or she deserves. 

SCORPIO i October 23-Xovember 21) 
Now that your ruling planet. Pluto, is on track again and cojoining with Jupiter, those | 
clouds you thought were following you will disappear. These two key planets are conj 
ously attempting to empower you (make you a master of life, not one of its victims) and 11 
positive growth into your world. To help them do their work, avoid becoming disrupttl 
disillusioned by day-to-day upsets. These are merely temporary distractions that don tl 
resent the bigger picture. With these two power planets to aid you. you are primed and r- 
to fly like an eagle. Don't doubt-just do it. 

SAGITTARIUS November 22- December 2 1 
Recently many Sagittarians have been through emotional upheaval. This generally aflfel 
relationships and finances, and some Sagittarians even went through a divorce and or 1 1 
bankruptcy. Whatever form this astro-influence took, it is likely it has left you disorial 
Now that the inner dust is settling, consciously reassess future plans. The recent eclipse c| 
is past, and now there is wisdom in deliberately setting your life's wheels turning tov 
new state of order. 



CAPRICORN (December 22-January 19) 
celestial muses are attempting to deliver a message, but it's likely you've been too busy 
1 ing about your life's constant ups and downs to receive it. Their message is: "You are 
I given a second chance of sorts; don't make the same mistakes over again." While times 
'•culiar now for Capricorns, this is an invaluable learning phase, providing you with a 
Wa-lifetime opportunity to have an overview of your strengths and weaknesses. If you 
E to stick with old situations rather than build anew, restructure existing conditions with 
^ new foundation plans. 

AQUARIUS (January 20-February 18) 

nonth's full moon is in your sign, an indication that the emotional aspects of your life 
1 iddenly take on greater importance. If you aren't emotionally fulfilled, you may delib- 
y set out to find love or other forms of self-gratification— and you may look in the wrong 
k Impetuosity rages around full moon time, so choose carefully where you promote 

elf or your projects. Head off in the wrong direction and you could discover you have 
'ilty getting back on track again. You are shaping your immediate future, so be certain 

ate what you truly desire. 

PISCES (February 19-March 20) 
dse Piscean will move slowly now. It is probably no news that, where business issues 
:lationships are concerned, your stars reveal this to be a time of intense reassessment. 
lg this long-running cycle, certain key relationships or life conditions (no matter how 
valued) will end— sometimes quickly, other times gradually— to make way for the new. 
gust you may face some fears about this transitional phase, and may find it difficult to 
of old ways. But this is important: You must make space for new experiences. Relax, 
what's meant to be. 

ARIES (March 21-April 19) 
tly destiny offered you a glimpse, a fleeting vision of what magnificence the future could 
f you determinedly followed your dream to its successful end. Well, start preparing to 
ate those dreams. A high-potential time is coming up for Arians: You can fulfill your 
rue purpose if you set your sights on target and commence now to head in the right di- 
n. The "reward" phase doesn't come to fruition until mid-November, but this month 
nth time of your cofire sign, Leo) is your "future positioning" time. If there's something, 
Mie, or some creative success you desire, lay the foundation now . . . and believe. 

TAURUS (April 20-May 20) 

g humble pie doesn't come easily to Taureans, but recently you were forced to ac- 

iledge that things have a strange way of turning out better than expected if you main- 
air faith. Experience has taught you that although certain situations in your life appear 
lely unfair, those hard times direct you back to love or to spiritual realms of operation. 

lave been put through a tough test recently; August is your rediscovery month and will 
le a chance for you to be at peace again. To find this serenity, begin by loving yourself, 

litter what you are facing now. 

GEMINI (May 21-June 21) 
of your sign have actually been running scared or panicking about situations that have 
jp around them during the past few months. Everyday dramas became so common- 
that you began to believe the painful times would never end. Well, they're ending now, 
lr life takes a turn for the better. The situations you found most threatening were, in 
uideposts to the new life roads you are about to travel. You will soon be heading off in 
ent directions or taking on new dimensions to your personality that you would nor- 
not even consider. 

CANCER (June 22- July 22) 

w you should have learned how little human will (even that so powerfully wielded by 

rceful imaginative and creative powers of the Cancer) can affect the will of Fate. Be- 

you somehow lost your faith in Fate, you recently suffered an extremely despondent 

1. Letting fear and worry overwhelm you also undermined your health. But your stars 

■te this isn't the time for fear or worry— more a time to believe that nothing is impossi- 

Acause nothing is. You have been taking life far too seriously. Remember, the reason 

B can fly is because they take themselves so lightly. Try it.« 

1e A 

)E AUGUST 1994 


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i Continued from page 283) 

Rethinking Your Fur 

"It started when I was in college, and I bought 
an old mink stole for S40 at a vintage store. " 
says 25-year-old Alexandra Lind, an aspiring 
designer in New York City. "I took it apart and 
made it into strips of trim that I could Velcro 
onto the hem of an A-line dress or the collar of 
a jacket. Anytime I wanted to change the look 
of an outfit, I'd just stick the fur trim on it."' 
Eventually, Lind abandoned the Velcro tech- 
nique for something a bit more permanent, 
stitching fur collars and cuffs onto some of her 
jackets. '"Everyone knows me for my fur- 
trimmed suits." says Lind. "They've become 
sort of my signature." But her recycling of old 
fur isn't confined to trim: Lind also restyled a 
vintage mink coat. "It was a long A-line. so I 
chopped it off to a mini, used the extra fur to 
make a collar and cuffs, and added a fur belt." 

Lind is just part of a growing trend toward 
restyling old furs. "'Our business has doubled in 
the past year," says Gilles Mendel, a furrier who 
specializes in remaking coats at the Workshop 
by J. Mendel at Elizabeth Arden in New York 
(212/546-0240). His theory about the success: 
"Recycling legitimizes the wearing of fur because 
the animal is already dead." Think of it as the 
eco-conscious. politically correct approach to 
wearing fur- you're merely taking a coat that's 
existed for years and turning it into something 
more modern and wearable. And not only does 
recycling save animals, it also saves money. A 
new mink jacket can cost up to S7.500. but 
Mendel can turn your grandmother's dowdy full- 
length mink into a chic little peacoat for around 
$2,000 or a fur-trimmed microfiber parka for 
only about SI .400. Another way to revitalize a 
too-heavy coat (like a fox or beaver) is to have it 
sheared, a process that involves taking the coat 
apart and sending each piece through a shearing 
machine. "' After you shear it. the fabric looks just 
like velvet," says Mendel. He cautions, howev- 
er, that the underfur that's revealed isn't always 
perfect enough to restyle on its own. so he nor- 
mally uses sheared furs to line cashmere coats. 

'"I prefer to call them transformations." says 
self-described '"fur magician" David Goodman 
of New York's Gus Goodman. Inc. (2 1 2/244- 
7422 ). which specializes in turning old fur coats 
into new fur-lined coals. Using an existing coat 
for a lining or trim is not only a less obvious way 
to wear fur (for those slightly squeamish about 
wearing head-to-toe pelts), but it's also the best 
option for anyone who has a fur that's in less than 
perfect condition. Among Goodman's popular 
Styles: mink-lined denim jackets (about S475) 
and poplin trench coats ( from S 1 .500). Although 
a fur needs to be in relatively good shape in or- 
der to be pliable enough for am t\ pe o\' restyling 
(mink and sable hold up best e\ en after years of 
storage), Goodman says he likes to think "that 
there are no limitations on what can be done with 
an old fur." If it's discolored, use it as a lining. If 
it's m bad condition, use the good parts as trim. 

Even if there's not enough material, an experi- 
enced furrier can almost invisibly add matching 
skins to extend the possibilities. 

A final alternative for those who want their 
heirloom coats out of the closet— but not neces- 
sarily on their backs is to turn the fur into dec- 
orative objects. Both Goodman and Mendel of- 
fer clients the option of ftaving old coats made 
into fur pillows or throws (a logical choice for an 
item of clothing that Goodman compares to a 
security blanket). Expect to get four to eight pil- 
lows out of a full-length coat for a total cost of be- 
tween S600 and S 1 ,200; changing a coat into a 
throw runs anywhere from S800 to $2,500. de- 
pending on the size of the throw and the type of 
material used to line it. Taking this concept one 
step further. Krazi Krafts in Long Beach, Cali- 
fornia (3 1 0/494-3741 ), specializes in converting 
animal-skin coats into stuffed animals. "I'm a 
real sentimentalist," says owner Kathy Brown, 
"so I love the idea of working with something 
that's been handed down from generation to gen- 
eration." Brown tells of one ill client who want- 
ed her mink remade into five teddy bears to give 
to members of her family. Brown charges $50 
and up per animal and is always careful to return 
any leftover scraps. "It's a way of making some- 
thing that has great emotional value," she says, 
""out of a coat that's just hanging in a closet, gath- 
ering dust."— SALLY WADYKA 


(Continued from page 253) 

hunt. I will drop everything any time to 
read a book on ballet. This winter I am 
trying to catch up on things I should 
have learned before. I am taking typing 
and Interior Decorating outside of col- 
lege and learning to play bridge and try- 
ing to cook things from recipes I found 
in France. I am afraid I will never be 
very successful over a hot stove. 

One of my most annoying faults is get- 
ting very enthusiastic over something at 
the beginning and then tiring of it halfway 
through. I am trying to counteract this by 
not getting too enthusiastic over too many 
things at once. 

She came of age in an era when young people 
drank at the Bemelmans Bar at the Carlyle and 
used expressions like "tipper tapper" when they 
meant typewriter or. as in her delightful essay, 
■jaundiced eye" and "Unforgiveable Sin." Like 
her fashion inspiration, Audrey Hepburn, she 
\\ as a 1 929 baby, admired for her beauty from 
an early age. And, like her as well, she died too 
soon. As a young woman, she was voraciously 
curious and described herself as an aesthete. Her 
interests were always rarefied: obscure French 
poets, nineteenth-century Indian court paintings, 
mystical religions. There was something of a par- 
ty girl underneath the Vassar smarts. It was there 
in the little-girl voice that made her friends cringe, 
and it was there in her sophisticated under- 
standing of the way things work. When she ap- 

plied for the Prix de Paris, she imaging 
tire Vogue issue with the theme of nostalg 
can swish out to lunch at your new littll 
rant in a jacket cut like a Directoire Dan] 
can wrap yourself in a great Spanish 
your own very U.S.A. living room; you < 
as you used to in the twenties in a wisp < 
per's sheath. It is always fun to pretenc 
think that these harking-back clothes i 
you feel quite secretly mysterious. Call I 
talgic; they are really just variations on t 
of coquetry." 

She envisioned celebrities in designed 
"Madame Pandit Nehru in a Mainbo<| I 
standing on an Indian prayer rug," "\ I 
Alexandra of Greece in a dress like Gr« I 
lily tunic, standing beside a Greek Statil I 
ideas for costume couture were equal 
flown: a voluminous deep red taffeta \m 
"The Doges of Venice"; a dress with a I 
skirt to suggest "'the Spanish look"; anfl 
greatcoat for "Sherlock Holmes and their 

The details of her Vogue proposal suJ 
woman of fashion that Jackie Bouvier wfl 
come. She was interested in the "romanfl 
the far-off and the bygone" and imagiifc 
glamorous a reader would feel wearinA 
gled jacket that "reminds them of Bkli 
Sand." She designed a basic sheath drefl 
three-page layout to show women how fl 
sorize with big hats, schoolgirl blouses, I 
fon scarves, et al. ("The Apron: Wear it I 
great striped taffeta apron to your parties I 
and feel as if you have stepped out of TaM 
Arabian Nights. ") For a college girl, hi 
were flossy: She suggested articles on PrB 
the literary history of the madeleine; an I 
Scott Fitzgerald story, "Please Show I 

Mrs. F. to Room No " She even sup 

nostalgia gossip, such as a few sentenceS 
Titanics sinking, a picture of Lindbergh. ■ 
War, Goldfish Swallowers, and Shirley I 

When Jacqueline Kennedy died, it I 
covered, not surprisingly, that she w as a u 
her houses were filled with her clothes I 
pers, and reportedly even all of Jack Kefl 
suits were preserved in a trunk. Her VogM 
hints at this tendency. In it, she createcH 
ments for Memories," special dresses thjfl 
later "laid away in folds of tissue papei 
your own very special piece of Nostalgi;Q 

Her letters evoked the Edwardian era ■ 
treasured her thank-you notes on the I 
Wedgewood blue stationery with TO^B 
Avenue" engraved in white or, if she waH 
idence at the Vineyard, the distinct whit* 
shell. Her handwriting was so girlish, I 
sweeping loops and fat letters, that then 
sense of hurry in her prose. Once, when ■ 
still living in the White House, she wrote I 
Dorothy Macmillan before the president U 
at Birch Grove, the British prime mirustei p» 
try home: "Please think of Jack as a 
David Gore is bringing down for lunch— I 
do whatever you would do in your own W 



cs arc distressingly normal— plain food- 
en's food . ..." On another occasion as 
.ennedy recuperated in the hospital from 
attack. Marietta Tree sent him "a heavy 
biography," according to the historian 
rd Reeves. Mrs. Kennedy penned a fast 
you note. "It was really so sweet of you to 
ick the biography, but at the moment Jack 
reading his favorite author. Cholly 

• manners were equally polished. She al- 
mped to her feet when she was introduced 
eone. sometimes with comical results. Sev- 
enths ago she visited the Children's Store- 
chool in Harlem. As she sat in the office 
d O'Gorman. the founder, a drunken 
ess man wandered in. The visitors in the 
roze. but Mrs. Kennedy rose. "How love- 
eetyou," Mrs. Kennedy said as one friend 

're are friends of Mrs. Kennedy's who be- 
iat had she not met Jack Kennedy in Wash- 
in the summer of 1952. she would surely 
'een a writer. It is always tempting to draw 
jny conclusions from a juvenile effort, but 
t story she wrote for the Vogue prize 
'd, at the very least, a sense of Jackie Bou- 
:arly keen perception of the hypocrisy in 
mily relationships and an interest in the 
re. Her grandfather Bouvier had died three 
iarlier, in 1948. According to C. David 
inn. Black Jack's previous gambling debts 
ather canceled his share of the estate. He 
owever. named trustee for his sister, Edie 
There was great conflict in the family as 
lack lost a portion of her estate to bad in- 
nts; he was further nettled that his father's 
ss had received S35,000, a great deal of 
at the time. "Christmas Story— The Vio- 
set two days after the death of the grand- 
1 of a young woman named Sophie. The en- 
1 j>ry, a scant 500 words, takes place in the 
ig room of the grandfather's house. "I was 
beside my grandfather's coffin looking at 
he lay in his dark blue suit with his hands 
. I had never seen death before and was 
ed that it made no more of an impression 
" Sophie hears the family arguing over 
: ill get the yellow damask Louis XVI sofa. 

• glad he couldn't see how his children be- 
1 once he was dead." Suddenly, a doorbell 
I \ man enters with a bunch of violets, flow- 
~ t implied Eliza Doolittle and Covent Gar- 
"' lower class. An aunt is peremptory with 

latches his violets and places them near "a 

; - Sf gladioli." and then asks Sophie to leave 

>m so the coffin can be closed. Sophie picks 

violets and holds them near her face. "I 

* >n the bench beside the coffin and put the 
i down inside, beneath my grandfather's 

where the people who came to close the 
would not see them." 

eleven years ago, I had a long conversa- 
H ith Mrs. Kennedy at a party she held to 
M )te one of her own books. It was 1 983, not 

long after she had burrowed into her new life as 
an editor at Doubleday. Living in New York 
again, she retreated into seriousness and went 
out only with close friends. She often stayed at 
home and read. By then she knew all the freight 
entrances that would allow her a quick escape 
from the paparazzi, but from time to time she 
would promote a project or a cause, such as the 
preservation of Grand Central Station. On this 
night. Mrs. Kennedy celebrated the publication 
of Maverick in Mauve, a diary kept by a nine- 
teenth-century grande dame, Adele Sloane, the 
grandmother of the wife of her stepcousin, Louis 
Auchincloss, a woman whose wedding in 1 895 
cost S 1 million and featured private railroad cars 
for the guests and a Worth bridal gown with an 
eleven-foot train. At the party, held, appropri- 
ately, at the Museum of the City of New York. 
Mrs. Kennedy talked quietly to friends in the cor- 
ner. She wore a pale jacket and a slim black skirt. 
Again, there was that intangible sadness, the sense 
that she was holding herself apart. I was attend- 
ing as a reporter, and I expected Mrs. Kennedy 
to shy away from me, but she did not. There was 
no trace of the baby-doll voice as we talked. What 
had interested her in the diary was not the de- 
tailed descriptions of the Mauve Decade, she told 
me, but the character of Adele Sloane herself. 
She used the words survival and survivor several 
times, and it was impossible not to believe that 
her fascination for this diary had something to 
do with her feeling of identification. "What was 
so moving to me was the spirit of this woman, 
and the dignity with which she lived her life, and 
her basic character," she said. "That her life 
would seem to be ideal, and then tragedy would 
strike her— losing her child, for example. And 
that her life was not going to be so perfect after 
all, that she would have enormous difficulties, 
but somehow her spirit and her character would 
carry her through. You realize, especially when 
she writes so movingly about the death of her 
child, how difficult her life could be." 

In the end, there were so many elements of 
Mrs. Kennedy's history that were contradicto- 
ry. Although she was one of the most famous 
women in the world, she appeared to believe that 
other people were much more interesting than 
she was. Once, swimming off Martha's Vineyard 
with Carly Simon, she looked overhead and no- 
ticed helicopters in the sky. "Oh, look, Carly! 
They know that you're here," she said with no 
irony in her voice. Her letters were filled with just 
such lavish regard for others, as was her conver- 
sation. Like all shy people, she rarely felt com- 
fortable talking about herself. In the last years of 
her life, she confided to one friend, she had tak- 
en up meditation. But she had always seemed to 
have an ability to obliterate anything unpleasant 
in her life. In the midst of her acrimonious di- 
vorce negotiations with Aristotle Onassis. Mrs. 
Kennedy held a small dinner party at her apart- 
ment. It was a summer night and extremely warm 
in the apartment, and one of her friends grew 
faint. Mrs. Kennedy and her escort for the 
evening, a television producer, took the guest 

into the library and stayed with her. As she re- 
cuperated, she overheard a long and affection- 
ate conversation about Onassis. "Do you re- 
member how he used to love to roam around the 
city at all hours of the night because of his in- 
somnia?" she asked the producer. "Remember 
that night he ran into you on Park Avenue at 2:00 
a.m. and brought you home for a drink and came 
into my bedroom, so happy that he had found 
someone he knew I liked? He was just like a dog 
with a bone!" Mrs. Kennedy's musical laugh 
filled the room. 

The same friend later wondered whether this 
quality of transcendence explained Mrs. 
Kennedy's ability to detach herself from the in- 
fidelities of the men in her life. There is a theory 
among Kennedy historians that, in fact, Mrs. 
Kennedy clocked very little actual time in the 
White House. She appeared only when she had 
to, preferring to remain at her rented country 
house, Glen Ora, in Virginia, with Caroline and 
John. Jack Kennedy was out of control sexually 
and, as documented in Richard Reeves's Presi- 
dent Kennedy, Profile of Power, regularly enter- 
tained a parade of women. Jackie Kennedy is 
not known to have spoken of the president's in- 
fidelities. When at a lunch last year a friend was 
talking about bisexuals and made a comment, a 
joke really, about how she would hate to be in- 
volved with a bisexual because then "everyone 
would be your enemy," Mrs. Kennedy replied, 
"Well, all men are unfaithful anyway." Then they 
spoke of reaching a certain age and their expec- 
tation that a man should be faithful. A woman 
of a certain age should not have to put up with 
bad behavior. Oh yes, Mrs. Kennedy agreed. 
There was no bitterness in her tone. 

A few days before she died, Jacqueline 
Kennedy made it clear to her friends that she did 
not want them talking about her even after she 
died. Mrs. Kennedy was an admirer of the poet 
William Butler Yeats who wrote so eloquently 
of masks; he theorized that the mask one wears 
in life is the mask one becomes. Some days be- 
fore she died she told one friend: "I don't get it. 
I did everything right to take care of myself and 
look what happened. Why in the world did I do 
all those push-ups?" Even aware that she was dy- 
ing, her letters continued to be cheery. To Kitty 
Hart, she wrote, "What a surprise, but I feel fine 
and we will still have a lot of laughs!" 

On Sunday, May 22, the day before Mrs. 
Kennedy was buried, I walked back over to her 
apartment building. It was another sunny day. 
By this time, the crowd was somewhat unruly; 
the police department had closed Fifth Avenue 
to traffic. There were now so many reporters and 
foreign-press photographers around that the at- 
mosphere reminded me of a stampede at Cannes. 
I heard one reporter call the Empire Wok, a lo- 
cal Chinese restaurant, on his portable phone. 
"Prawns and peanuts!" he shouted. "Bring it to 
1040 Fifth Avenue, and tell the doorman it is for 
a reporter in the mob." Earlier that Sunday morn- 
ing, Maurice Tempelsman reportedly took the 
Times and read it sitting close to her coffin, as if 


I AlCUST 1994 


(Continued from page 30 J j 
he could not bear to let go of such a shared do- 
mestic routine. 

I arrived early at St. Ignatius Loyola the next 
day for the funeral. The reporters were already 
gathered behind the grassy island in the middle 
of Park Avenue. At this late day in May, the tulips 
had lost their blooms. Often on Friday nights 
when you walk down Park Avenue, you see 
throngs of schoolchildren on the street: the base- 
ment of the church is the scene of charity dances 
and pizza parties where hormonal private-school 
boys exchange furtive telephone numbers with 
Brearley schoolgirls. The UPI photographer 
saved a place for me directly behind the tree in 
front of the church. We stood for hours and 
watched as the crowd swelled on Eighty-fourth 
Street. One man held a sign: camelot will be 
reunited in heaven. In front of the church, the 
New York police were out in force and the Se- 
cret Service as well as the private Kennedy fam- 
ily security detail. The true female friends arrived 
discreetly, wearing little black suits. There were 
so many of these Upper East Side women of zip 
code 1002 1 , with their big blond hair, mourning 
weeds, very Southampton with bare arms and 
legs because it was so hot a day. 

And then there was the odd business of the 
arrival of the first lady. It is well-known that Mrs. 
Clinton has uncertain taste in clothes, but her suit 
with the large carnation pink collar was a mis- 
take. Everywhere she went that day, the bright 
swatch of Dallas pink caught the camera eye. A 
few moments later, another car pulled close to 
the reporters, but on the east side of Park Av- 
enue so that the passengers would have to walk 
through the crowd. Out bounced a smiling 
Robert Kennedy. Jr., with his mother, Ethel, wav- 
ing and beaming, using his aunt's funeral as if it 
were a campaign stop. Not long after, the chil- 
dren arrived with their mother's mahogany cof- 
fin. I watched Caroline, so serious and sad. walk- 
ing with her brother. The bright sun put the en- 
tire scene in high relief, and from where I stood 
you could just see the blowing lilies of the valley 
in the shape of a cross on the top of Mrs. 
Kennedy's coffin. Caroline moved slowly, her 
head bowed beside her mother's body. It was im- 
possible not to remember the moment in William 
' uinchester's Death of a President when the six- 
\ ear-old Caroline sees her mother break down 
at her father's funeral at St. Matthew's Cathe- 
dral. "Don't worry. Mummy. I'll take care of 
you.'' she said, taking her mother's hand. 

A short while later. 1 heard the final prayer 
from a nearby radio: Our sister Jacqueline has 
gone to Christ May Jacqueline he at peace, may 
she he with the immortal Cod. A few moments 
passed, then the pallbearers came out with the 
coffin. Caroline and John followed, and John 
put his arm around his sister. One by one. the en- 
tire Kennedy familj gathered Ethel, Teddj . the 
cousins and then Hillary Clinton took her place 
on the left of the stairs. The steps to the church 
filled with Kennedys. One by one. they came and 

stood facing the crowd, as if they had rehearsed 
this final scene. Then they waited for the coffin, 
looking straight ahead. It was as if they intuited 
that this was the last great ceremonial event of 
their family. The photographers were silent, star- 
tled by the tableau. The family gazed directly at 
us, into the cameras, appearing to understand 
the historic importance of the moment. In some 
ways, we knew that we were not just saying good- 
bye to Camelot but to a time in our lives when 
we were young. The only sound I could hear was 
the clicking of hundreds of cameras. "I've wait- 
ed my entire life for a shot like this," a" photog- 
rapher near me said, "and now I don't want to 
take it ."• 


(Continued from page 255) 
nity houses when the boys don't dress, and 
through dinner, theatre and dancing dates in the 
city. Because they are separates I could get at 
least two more dresses out of them — 

Make out a plan of beaut) can- suitable for 
a college girl. 

You can never slip into too dismal an abyss of un- 
tidiness if once every seven days you will pull your- 
self up short and cope with ragged ends. Thurs- 
day night, the night before a weekend, is a good 
one for this sort of overhauling. If you will allot 
two hours to a thorough going over and regard 
these two hours as sacrosanct as any of your class- 
es, you can avoid smudged nails daubed on the 
New York Central from a bottle of polish that 
has spilled in your pocketbook, strange unwant- 
ed waves in your hair because you have washed 
it at midnight and gone to bed too tired to wait 
for it to dry, stubbly legs with razor cuts, and a le- 
gion of other horrors If you will buy decent 

materials and take care of them (no dirty powder 
puff, unwashed brush and comb, dried out nail 
polish), eat and sleep sensibly, remember that 
cleanliness and neatness are what you are work- 
ing for. and that they can be attained v\ith ten min- 
utes of washing and brushing a day and a little ex- 
tra time one night a week, you should never ha\ e 
to scream in anguish and take an hour to get read) 
when told that your best beau has arrived unex- 
pectedly and is waiting downstairs. 

\\ hal is your opinion of ihe perfume pre- 
sentation in the December Vogue? Suggest, 
in 300 words or more, an alternate pre- 

Perfume was just as effective in piquing the male 
olfactory glands before our era of adjective laden 
advertisements. Win not quote some of the po- 
etry it has inspired'.' It also is analogous to wine. 
Both are liquids that act upon the closely related 
senses of taste and smell to produce an intoxi- 
cating effect. Wine has had an even stronger ap- 
peal in literature, from Omar K hay am to Colonel 
Cantwell and Renata. Why not pilfer some of its 
drawing power and incorporate it into an article 

on perfume? ... An analogy of wine 
fume, entitled "Intoxicating Liquids," ' 
and the Grape," etc.— would be done J 
the same way. The left hand page woil 
the compartments of a wine cellar. In ed 
partment a bottle of perfume would be 
upright. The label beneath it would say "j 
ic-Numero 6. 1 950" in the same way 1 
are catalogued. This layout would bel 
fective in black and white photography 
black depths of the compartments poi| 
the reflections of the glass botdes. The i 
page— also with black background 
some strewn flower petals, a thin-stemr 
tal wineglass with the blurred suy 
woman (a long neck, an earring her I 
ing perfume out of a Diorama bo 
glass. Again in the right hand corner w | 
few lines of copy stressing the analogy i 
perfume and wine. 

Suggest a new approach for Vog 
subject of men's fashions. 

Any new approach to men's fashions s 
directed at women. Most women know 
ly little about men's clothing. Why not 
something about the male wardrobe i 
of articles, so that at Christmas and b 
they will no longer present the man in 
with a neady wrapped sartorial blunder 
little details that make a man a fashion pi 
be brought out by a series of "good a 
photographs. Well dressed personaliti 
news, such as Dean Acheson, Anthoi 
Fred Astaire. could be shown besii 
dressed models. Thus the importance 
cut lapel, a neatly folded handkerchief, 
as opposed to peg-cut trousers, the an 
cuff visible below the sleeve could be m 
to women .... 

It seems to me that any woman wc 
come a few pointers on men's clothes, 
ger to brighten up her husband's w ard 
does not know how to go about it wit 
scending to the robins-egg blue gaban 
and hand-painted tie level. If I ague sr 
how she can introduce color and variety 
w ardrobe and still remain w ithin the b<j 
convention and good taste she will be 
and will welcome the death knell of tr 
"Clothes make the man. but not when I 
chooses the clothes. "• 


C ontinucd from pane 24(1 
the idea of men and women sharing thir 
put on a lot of stuff, and 1 think worn* 
use a man's fragrance. And men don't 
fume. They don't use pretty little bottl 
you know And there's something very 1 
scent is so light and so fresh and so m 
and you can put a lot on. I mean, w hen i 
does that, as long as it's not overbeann 
sex\ . So I mean it really is a new concq 
not new. I'm getting the ideas becau 



•en it. Women have done it." 
;K One is about men and women sharing. 
,sion. as the world knows, was about sex: 
Lous eighties decadent sex, defined first 
\ id Lynch's arch weirdness and later by all 
entw med bodies on the beach. "11 was this 
>f crazy thing." Calvin says. "'It was Jose 
in. the original Obsession model] and arms 
•r the place. It was— it's always been a sexy 
nee." But at a time when a general obses- 
itb sex will get you in a lot of trouble, it be- 
necessary, once again, to "refresh the state- 
" -The challenge was, how do I bring it into 
leties'.'" And the answer was: Make the ob- 
n real, make the obsession personal, 
ice again the flash occurred. "I had a feel- 
r this young model called Kate Moss. And 
(coking at photographs of her taken by her 
lend at the time. Mario Sorrenti. And they 
lis private photographs of her. It just said 
jsion. I said, he's really obsessed with her, 
lassionate for her, it's all so clear. And it's 
and it's young, and it's new." 
\s Kate: "The one where I'm touching my 
at picture— that's my favorite that I've done 
ilvin. I'm not posing at all in that picture, 

?ality is the statement of the moment at 
'i Klein. Even Eternity, born at the time of 
ri's marriage to Kelly Rector and named af- 
: ring purchased at the sale of the Duchess 
ndsor's jew els. is getting a dose of reality. 
(\ant it to be believable." says Neil Kraft, 
doesn't mean we're gonna have screaming 

s in the commercials. But now they are a 
ful. perfect family with a sound track behind 
: and we want to make it a little more real." 
cape was yet another fragrance born of 
f 1 Klein's own life. "It's about Kelly and my- 
i he said at its inception. "What we do and 
ve live." Kelly had bought Calvin a boat— a 
i table Cat, the expensive sailboat favored by 
I bighbors on East Hampton's Georgica 
c -and Calvin took up horseback riding, Kel- 
it vorite sport. But then Calvin fell off his horse 
if las bedridden for three months, and now his 
i 5 docked and Escape is about more spiritu- 
* ns of recreation. Where the ads once fea- 
h Calvin and Kelly look-alikes with lots of ex- 
t 'e toys, they now feature a couple in a rough- 
1 canoe exploring an obscure island off the 
« of Panama. "Again." says Kraft, "what we 
o do was make them more real. They had 
iderful run of being perfect. They were in- 
:>ly beautiful and very materially oriented. 
! "Look at my fabulous boat and my fabu- 
n orse and my fabulous pool.' Now it's 'I've 
t i away with my mate on an island alone.' " 
;■': le campaign for CK One is the grittiest to 
a a sort of cross between Warhol's Factory 
te-si.\ties Avedon. Shot by Steven Meisel in 
j black and white, it features members of the 
mi g Hollywood set like Sofia Coppola and 
I wan Leitch and dozens of models, includ- 
$ oss. posing as "real people" if the real peo- 
s >u know wear rings in their navels. In keep- 

. JE AUGUST 1994 

ing with the democratic theme, most of the cam- 
paign will be devoted to outdoor venues, includ- 
ing billboards and bus shelters. "We've taken it 
to the streets," says Kraft. "Previously there was 
this idea that perfume was completely prestige." 
Prestige is out. The nineties, Calvin has de- 
cided, are about the personal, about staying in 
and being alone and not flaunting what you have 
on your back, or even in your driveway, but in 
your home, "the core of modern life," where the 
people you love can share your investment. 
Hence his new home collection, for which he is 
currently poring through his library of fabrics 
and colors he has used in his clothes all these 
years. "There is no one doing these products the 
way I do clothes, with all this mixture of the tex- 
ture and the pattern and the subtlety of all that 
stuff mixed up in one room. And I am going 
through all that stuff and thinking about beds 
and baths and dinnerware, and it's so exciting." 
His own home is so minimalist that there's no 
table in front of the love seat outside, and I am 
forced to put my cup of coffee on the floor, where 
Leo, one of two scruffy Tibetan terriers, drinks 
it. If it is true that Kelly and Calvin have a con- 
stant battle involving Kelly bringing things out 
and Calvin putting them away, Calvin is defi- 
nitely winning. Inside there are pots of fuchsia 
orcbjdsrand he says he just walks back and forth 
looking at them. "I love color, but I want it in 
flowers, not clothes." Or home furnishings? 
"Right. Or maybe just bits of it." 

I cannot imagine him, this rail-thin, energetic 
man, in any other setting, especially since his 
house might as well be his office. Polly Hamilton 
says she took two weeks off after the last collec- 
tion and that wasn't even enough, so he told her 
maybe he would do it, too. But when she asked 
him how his break was, he said, "Oh, I didn't 
have time." 

He was in East Hampton for two weeks, but 
during that time he flew to Europe for a day to 
cinch the deal with Gabriella Forte, and she flew 
in to spend a weekend with him. The day I'm 
there the phone never stops ringing, and though 
we talk through the morning and well past lunch, 
the only thing he has brought to him is a whole 
lot of coffee. "He's always moving forward," says 
Hamilton. "He's never resting on his laurels, 
which would be very tempting to do. He's always 
searching, self-educating, if that doesn't sound 
too hippie. He has incredible energy." He would 
have to. in order, as the caller on Lany King said, 
to keep on setting the "tone-mood" for the mod- 
ern woman year in and year out. And now that 
he's figured out. courtesy of Larry King, that 
callers don't necessarily care about the details of 
his own life, will that life still be mirrored in his 
products? Will he, for example, go off to a re- 
mote island in a rough-hewn canoe? Not likely. 
He laughs. "If I can get enough sleep, that's, for 
me, a vacation."* 


/Continued from page 262) 

time here?" Lynch recalls. "On the East Coast 

everyone has a weekend home, but here every- 
one drives the whole time, so it's daunting to then 
have to drive to a country house." However, the 
couple's response to the place ("It's so bucolic 
and Zenlike. You turn off the road and it's so 
spectacular. We went berserk," Lynch remem- 
bers), together with her disenchantment with 
L.A. ("Orson Welles said a horrible thing about 
L.A.— that it was one big rocking chair and you 
sit down in it and 40 years later you get up"), 
cinched the deal. 

With Doe's help, they found local craftspeo- 
ple who had worked with the Oylers on the orig- 
inal project to restore the house, and set out to 
uncover historically appropriate furnishings. The 
dining set is a rarity designed by Neutra himself 
(Lynch and Glazer started to tremble when a deal- 
er showed it to them); even the garden furniture 
by Van Keppel and Green matches that used in 
the original scheme. The garden's untamed jun- 
gle growth was razed like the house next door. 
"We wanted to see the architecture," Lynch ex- 
plains. "This house was a living tribute to every- 
thing Neutra was about. It's as he intended." 

The couple have no regrets about their choice. 
"This place has really made us feel grounded and 
creative," says Lynch— and the results are already 
in evidence. This fall Lynch stars in Jennifer War- 
ren's The Beans of Egypt, Maine and in Antho- 
ny Drazen's Imaginary Crimes, and Glazer has 
several project in various stages of production. 
"Now it's so hard to leave," adds Glazer, a sen- 
timent Lynch acknowledged in the artwork she 
chose for the wall of Glazer's office in the house, 
JeanCarlu's 1941 poster America's answer! 
production. This is her wry reminder of what 
rules both their lives when they can tear them- 
selves away from their outback idyll to face an- 
other day in movieland.# 


(Continued from page 265) 
least according to Rolling Stone, with 50 million 
Americans suddenly and fashionably afflicted. 
New Age beverages (sparkling juices, flavored 
sparkling waters, Coca-Cola's new Fruitopia, 
ready-made iced teas, margarita coolers) crowd 
against each other in the refrigerated cases where 
wine coolers, now nearly dead, once proudly stood. 

In 1993 American food companies introduced 
a fantastic 1 2,000 new products with the hope, I 
guess, that each one might become the oat bran 
or Gummi Bear rage of this decade. So far in 1 994 
we have been tempted by Yogi Bear Toastee Tarts 
and Flintstones Bedrock Butter Caramel Corn 
Candy. By Dinoburgers Shaped Beef Patties, 
made in the form of dinosaurs, like so many foods 
since Jurassie Park; their heads, tails, and legs dan- 
gle off your bun. By Posada Flap Wraps Light 
Pancakes, which are microwavable heat-and-eat 
handheld cylindrical pancakes wrapped around 
sausage or fruit fillings. And by the astounding I 
Can Make Dirt Pudding Pie with Wiggly Worms 
Mix, which kids can bake, gummy worms and all, 
in a flowerpot. 

Snapple has eight new flavors, and Willy Won- 



{Continued from page 3(13 ') 
ka has introduced Double Dipped Nerds Can- 
dies. Lite takes on a new meaning w ith Yoplait 
Crunch N Yogurt Light's Cherry Cheesecake 
with Graham Crunchies. Incredibcrry Kool-Aid 
Burst Fruit Drink tastes red. with a berry flavor, 
but looks yellow. A unique, limited-run cereal 
was introduced by General Mills's Wheaties for 
the NCAA basketball tournament puffs of 
whole wheat and corn that look like tiny bas- 
ketballs, complete with dark curved scams: the 
box can be cut to form a hoop that you set over 
the little ones' bowls. Even more conducive to 
civilized dining are Gummi Maggots. Mad Dog 
Super Spew Bubble Chew, and something, a 
candy 1 think, called SNOT. (SNOT's new clear 
lemonade version is meant to look even more 
like the real thing.) And Zeebs Enterprises has 
come up with what I believe is the first immoral 
food: a snilTablc liquid candy that comes in t\\ ist- 
cap "glue" bottles in four suggestive flavors 
Adhesive Apple. Bonded Banana. Cling Zing 
Cherry, and Blue Goo Raspberry. I imagine that 
next year it will introduce an injectable liquid 
candy in disposable syringes. 

I don't know about you. but this all sounds 
to me like an industry in total and complete pan- 
ic. It's enough to turn a fellow against fads. 

The problem. I think, is that the monumental 
food fad that has been supporting so many new 
products for so long may finally be fading, right 
before our eyes. I refer to the nutrition craze of 
the past fifteen years, the effort by nutritionists 
and food producers to appeal to every paranoid, 
puritanical, hypochondriacal, and querulous bone 
in our bodies by persuading us that everything we 
put in our mouths is either a poison or a cure. At 
least a quarter of all new products introduced in 
1 992 had a health claim plastered on the label 
a message about fat. salt, sugar, or calories. Intu- 
itively knowing that omnivores men. women, 
and rats alike are initially ambivalent about new 
foods, manufacturers have had an easy time plav - 
ing on our fears. But now a crucial change may 
be upon us. 

Here is the e\ idence: New products bearing 
health claims dropped sharply in 1993. Low- or 
reduced-calorie debuts dropped by 48 percent. 
low- or reduced-fat launches by 33 percent, and 
reduced-salt products by a whopping 66 per- 
cent. Sales of existing low-fat, low-calorie, salt- 
reduced, and decaffeinated products have also 
slowed, while bacon and egg sales have in- 
creased. ( 'onsumei s seem to have become dis- 
satisfied with the taste of new health) foods. 
Even our fellow omnivore the rat agrees Ac- 
cording to Michelle Stacey, in her recent book. 
Consumed, given a choice between 1 nten- 
mann's fat-free cakes and the full-fat versions, 
hungrv rats prefer the fattier cake. (I myself find 
little to prefer in either, though I like the wa> 
the fat-free Golden 1 oaf Cake bounces high 
when you drop it) The major supermarket suc- 
cesses ha\ e been few : Nabisco's fat-free and re- 
duced-fat SnackWeH's cookies and crackers 


(which have become a S200 million business). 
Stouffer's Lean Cuisine Lunch Express. Pro- 
gresso's Healthy Classic soups, and lots of low- 
fat frozen yogurts. 

Salt) snacks are booming, and shoppers now 
choose high-fat snacks more often than lean 
ones. Chip consumption is rising by 6 percent, 
while popcorn has fallen by 3 percent. After 
plummeting for a decade, beef orders in restau- 
rants are now increasing; sales of supermarket 
cheese are at an all-time high: and sales of pre- 
mium, high-fat ice cream have jumped by 8 per- 
cent. One survey showed that even consumers 
who express concern about dietary cholesterol 
and fat eat high-fat cheese, hot dogs, ham. pork, 
eggs, beef, and mayonnaise with relish. A re- 
cent National Restaurant Association survey 
reported that while restaurantgoers claimed to 
be health conscious, four of the top items they 
ordered most were still hamburgers, steak or 
roast beef, french fries, and various Italian dislv 
es. Another recent survey, by the American Di- 
etetic Association, found that only 39 percent 
of Americans thought they were doing every- 
thing they could to eat a healthy diet, down from 
44 percent the previous year. 

The sad part is that Americans seem to think 
they have only two choices: nutrition faddism 
or steak and french fries. 

Why is the health fad fading? Trend follow- 
er Faith Popcorn calls it pleasure revenge. And 
as the economy weakened, more people took 
comfort in comfortable food. Other consumers 
were disillusioned with the results of their 
healthy labors as Molly O'Neill put it in The 
New York Times, people ate their bran muffins 
and nothing happened. Overall, the market has 
probably become saturated: Everybody who 
wanted to follow the health fad has already done 
so (though health-food store sales were up 19 
percent last year, mainly due to the opening of 
several health-food supermarkets). Besides, with 
all the confusion about margarine and trans- 
fatty acids, about iron supplements and excess 
iron as a cause of heart attacks, and about fat. 
sugar, and salt in general, main consumers may 
simply have thrown up their hands. 

In the eighties, salt and sugar were the prime 
demons in the eyes of the nutrition establishment. 
But by the end of the decade, the evidence against 
salt and sugar had pretty much collapsed. A 32- 
country British study demonstrated to most peo- 
ple's satisfaction that a nation's sodium intake is 
not related to its rate of hypertension. And a re- 
cent experiment on a group of borderline hy- 
pertensives showed that as many people experi- 
ence a rise in blood pressure on a low -salt diet as 
show a decrease. Sugar has been exonerated as 
the cause of any major disease including be- 
havior disorders in children except for cavities. 

Americans had good reason to wonder, too. 
about the incessant warnings against eating fat. 
Try as it might, the nutrition establishment has 
been unable to find, in the population at large. 
a correlation between the amount of fat we eat 
and anv chronic disease except mav be obesi- 

ty. The countries with the low est rates of hi 
disease in the world are Japan and Fra 
Japan's traditional diet is extremely low in 
and the French consume fat w ith abandon 
united fat still seems to be related to our cl 
of having a heart attack, at least if it raises 
blood cholesterol level (by no means the c 
with everybody ). and to our chances of ge 
colon cancer. But total fat intake seems to 
come less significant every dav . Recent 
study in the Journal of the American Medical 
soeicttion showed that non-insulin-depcndent 
abetics do better on a high-fat (45 percent!) ( 
than on the usually prescribed high-carbo 
drate regime, as long as most of the fat falls i 
the monounsaturated category which inclu 
olive and canola oil. The problem with the 
carbohydrate diet previously prescribed is 
it can actually trigger diabetes. Eating salad 
out an oil-rich salad dressing greatly redu 
our ability to absorb the carotenes and oil 
fat-soluble vitamins in the vegetables. And 
entists have failed to find an overall relations! 
between fat intake and breast cancer. Total 
intake seems to have little to do with health 

As for obesity, new data from the fede 
Centers for Disease Control show that e\ 
though Americans are eating less fat. they ; 
eating much more of everything else andg 
ting fatter in the process. The average Ami 
can eats 300 calories more every dav than 
teen years ago just as the nutrition fad was 
ing hold. The average young American wei 
ten pounds more than the average sev en ye. 
ago. despite a diet sharply lower in fat and cl 
lesterol. And nearly two-thirds of Americ 
adults weigh more than they should: ten ye 
ago, only 58 percent of adults did. Demonizi 
fat seems to have had paradoxical result- 
trate our appetite for fat and things get ugly 

Omnivores surrounded by abundant f< 
search for rules, norms, and restrictions to he 
back their voracious urges. And that is w hy 
trition faddists since the early nineteentl l 
ry have had an easy time persuading us to su 
ordinate our taste, traditions, and commoi 
to nearly anv set of arbitrary restraints they pr 
pose. My final visit to the supermarket. - 
ing for the next major food fad. w as extremi 
depressing. Most of the newest produc' 
laughable in concept and repulsive in taste. (T\ 
w inners in this category were Fingos. a ( jener 
Mills cereal made to be eaten with vour fingers 
reallv an excuse to eat a sweet chip for breakfast 
and Betty Crocker's Gushers, which I r 
describe, except to tell you that thev don't gus 
they dribble. ) Most of the low-fat produi I 
either inedible or silly. In the silly catcg< 
the highly superfluous low-fat Fig Newton 
w Inch though they had only a minuscule 1 .5 fi 
grams have now been reduced to 0.5. 

Only in the fresh fruit and vegetabL 
partment did an air of calm and enjov mentd« 
scend upon me. The fragrant peaches, the l 
cherries, the dripping pineapples thest 
the healthiest foods in the entire store ai 

VOGll \ 


>ne carried a health label, not even the broc- 
.li. This should be the food fad for the nineties: 
it a little less meat and much more fruit, learn 
conk vegetables, avoid cans and boxes, have 
isional glass of wine, and savor every- 
ing you put into your mouth. • 


Continued from page 271) 
i disorders, or grow so enamored of life in the 
st lane that they stop showing up for work. 
The chances of a model getting swept away 
e high because the combination of youth and 
oney is a volatile one; it's very hard for a six- 
;n-> car-old with a six- or seven-figure income 
maintain anything approaching perspective, 
the case of Bridget, the problem is exacerbat- 
by her general lack of sophistication. For ex- 
,iple. in the late spring of 1993, when an "ex- 
ited" Donna returned to Texas from Paris, 
idget moved in with Eileen and Jerry Ford, 
t as young Ford models have been doing since 
; fifties. Eileen recalls her summer ward: "As 
uch as I love Bridget, she is a pain-in-the-neck 
ter. She said she'd like chili, so we made chili, 
it she didn't like our chili because she only likes 
ili out of a can." After three months in the 
>rds" town house, Bridget confesses, "I was 
ked out because I went out at night too much." 
Tiich prompted Donna to move to New York, 
to a small midtown apartment that Bridget 
nts for $950 a month. Mother and daughter 
ve remained for twelve months, with Bridget 
:eping in the bedroom and her mother sleep- 
on the convertible sofa in the living room. 
As the peculiar domestic arrangement sug- 
sts, Donna and Bridget do not have a tradi- 
>nal parent-child relationship, which is per- 
ps inevitable if the child is supporting the par- 
t in an appreciably more comfortable style 
an the parent is accustomed to. Among the 
nsequences of Bridget's financial clout (last 
ovember she became Bridget Hall Incorpo- 
ted, with Bridget as chairman, Donna as pres- 
ent, Bridget's then nineteen-year-old brother, 
sh Hall, as vice president, and everyone on 
Ian ) is the shift in the balance of power at 
>me. In response to Bridget's enthusiasm for 
ying out nights until the clubs close at 4:00 
M., for example, Donna sighs, "We tried a 
rfew. but it didn't work." Also indicative of 
e reversal of control is the real estate hunt 
onna has been on since she and Bridget de- 
ied that their 700-square-foot rental was no 
nger bearable. Bridget says. "Mom wants to 
e uptown, but I want to live downtown," and 
the search has now been narrowed down to. 
Donna puts it, a "not cheap rental in John 
ennedy. Jr.'s building" in TriBeCa, a $350,000 
lplex in Greenwich Village, and an $800,000 
ft, to rent, in SoHo. 
Such pricey real estate is a far cry from what 
Hall family was used to in Farmers Branch, 
"here were times when I had to sell my jewel- 
to pay the electric bill, to get the lights back 
." recalls Donna, who supported her family 

after her husband left by selling radio spots in 
Arkansas, photocopiers in Oklahoma, and fur- 
niture in Texas. When asked for her estimation 
of the family's economic status during her child- 
hood, Bridget chose the word poor "There were 
weeks when we couldn't go to the grocery store 
to buy food, because we didn't have any mon- 
ey. We'd just eat whatever was in the cabinets." 
Perhaps the memory of those times partial- 
ly explains why, according to Bridget, no one in 
her family has ever tried to talk her into return- 
ing to school. However, their silence may be be- 
side the point if Bridget's prolonged contract ne- 
gotiations with Ralph Lauren pan out. The val- 
ue of the proposed three-year contract, notes a 
proud Donna, is in the $2 million neighborhood. 
If the contract is eventually signed, Bridget would 
be limited in what she could and could not do, 
which means that she'd have time for school 
without seriously damaging her income. Nev- 
ertheless, school is a very remote possibility. The 
last time the subject came up was in January, af- 
ter Bridget returned from a particularly difficult 
shoot in Anguilla, and told her mother that she 
wanted to go back to the ninth grade in Texas. 
She then asked if her mother minded. 

Although Donna assured her daughter that 
she didn't mind, the return to Texas, had it oc- 
curred, would have been difficult: For Bridget, 
there is no going back to Farmers Branch and 
her old friends. It would be difficult for Bridget 
to give up her current standing as the darling of 
New York, to forgo her position as someone 
for whom there is always a good table at Cafe 
Tabac, a trendy restaurant in Greenwich Vil- 
lage where she met Madonna one night. She 
would also have to forgo the Tunnel and the 
Supper Club, a pair of Manhattan clubs where 
the velvet ropes keeping the throngs out are 
whisked aside for Bridget. Such things do not 
happen to Bridget back in Texas, according to 
Josh, who reports that not only is his sister not 
given "any special treatment" back in Farmers 
Branch, but she "can't get into any of the bars 
or clubs because she's underage." This is not a 
problem in New York. "They like models," of- 
fers Bridget by way of explaining why she has 
never been asked for proof of her age at a New 
York bar or club. 

All things considered, it is unsurprising that 
Bridget's back-to-school plan was short-lived. 
Besides, as Bridget confesses, the idea stemmed 
not from her interest in education, but rather 
from her loneliness in New York: "I didn't have 
any friends." Her talk of school instantly stopped 
when she met actor Leonardo DiCaprio, with 
whom she began what she insists is a friendship— 
"He's not my boyfriend"— but what the New 
York tabloids insist is the hottest romance since 
Kate Moss met Johnny Depp. Other new 
friends quickly followed: On May 20 at a party 
in Bridget's honor at the Nite Cafe in Chelsea, 
some 1 ,500 hipsters crammed into a bar/restau- 
rant that has a legal occupancy of about 800. By 
1 :00 A.M., the line of Bridget's new friends wait- 
ing outside to get in had snaked all the way down 

the block, which brought out three fire trucks 
and a pair of fire marshals who cleared the street. 
Inside, "Briget," as the invitation read, seemed 
unfazed by the throngs, for whom she dressed 
in trousers and a tight lime green Anna Sui rub- 
ber midriff-baring T-shirt, with hair carefully 
coiffed and makeup expertly applied— circulat- 
ing around the party with Josh in tow. 

Among those who are untroubled by Brid- 
get's decision to "screw school" is Meisel. "What 
would you rather be doing?" he asks. "Flying all 
around the world, making a million dollars, be- 
ing on the cover of every magazine, dating cute 
guys? Or hanging out at the local McDonald's 
smoking pot or whatever they do, worrying 
about studying for some test?" But while the 
pros and cons between school and work are 
weighed, the gaps in Bridget's education persist. 
From facts to figures to vocabulary, there are a 
lot of things she doesn't know, which at times 
gives conversation with her a surreal edge. A lit- 
tle more schooling might also help to develop 
her powers of deduction. Over dinner one 
evening at an Italian restaurant in Greenwich 
Village, for example, Bridget— all dressed down 
in jeans and an oversize turtleneck— reported 
that she was a vegetarian because "Leonardo 
explained how the rain forest was being cut down 
to make more pasture for cows." Then, minutes 
later, Bridget instructed the waiter to bring her 
"spaghetti with meat sauce." 

There is an obvious vulnerability about Brid- 
get as she attempts to navigate her way through 
the world. "She reminds me of Marilyn Mon- 
roe, beautiful and glamorous and gorgeous and 
all that," says makeup artist Kevyn Aucoin, "but 
at the same time she's somebody that you want 
to take care of and protect." Stephane Marais 
adds, "I don't feel comfortable when the girls 
are too young. You know, you feel not exactly 
sad, but you never know what's going to hap- 
pen to her. I'm always a bit scared for very young 
girls like that ... she can get easily lost." 

According to Marais, Bridget "enjoys what 
she's doing, but it's not a passion." Her passion, 
she confesses, is one she shares with many mod- 
els: Bridget wants to be an actress. On a recent 
photo shoot, she asked the Los Angeles-based 
fashion editor in charge if she happened to "know 
any Hollywood movie directors," and, if so, could 
Bridget come and stay with her for a while? 

It is too early to speculate as to whether or 
not Bridget will make the move to Hollywood, 
get lost along the way, or continue to rise as a 
model. Among those who know her and the 
modeling business best, however, there is no 
question of her potential. "She's a cross between 
Paulina Porizkova and Stephanie Seymour, 
with a bit of Isabella Rossellini thrown in." says 
Herb Ritts. "She has the star quality that Christy 
Turlington had when she was fourteen or fif- 
teen," says Eileen Ford. "She's like Ali Mac- 
Graw in Goodbye, Columbus, " says designer 
Michael Kors. "She's got Sophia Loren's lips," 
says makeup artist Frangois Nars — 

"I think she looks like mom." says Josh Hall.* 



Page 4 (cover look): Anorak, $2,955. Chanel Boutique. 
NYC, Beverly Hills; Saks Fifth Avenue, Palm Springs 
CA. Wool, alpaca, cashmere, and silk dress, sold with 
wool and alpaca jacket, $3,740. Bergdorf Goodman: 
Chanel Boutique. Bcverlv Hills. San Francisco. Scarf. 
$585. Chanel Boutique, NYC, Beverly Hills, San Fran- 
cisco. Fashion front 98: Sneaker, $90. For store infor- 
mation, call (503) 67 1-3939. Mini-TV. $700. For store 
information, call (800) 222-7669. Pencil, $400. Bulgari, 
NY< For more information, call (800) BULG \K1 
Desk agenda by Hermes. SS25. Photographed by Eric 
Huang Hermes stores. For more information, call i m k ! i 
4414488 Paperw eight, $1 15. Baccarat. NYC Neiman 
Marcus: Gump's, San Francisco. For more store in- 
formation, call 1 81 K)> 845-1928. Clock b> Faberge. work- 
master Mikhial Perchin, $68,600. L'Etoile Roy ale. 
NYC. rhermos, $785. Hermes stores. For more in- 
formation, call (800) 4414488. Quilts, left to right: Chris- 
tian Lacroix, Rifat Ozbek. Bella Freud. Vogue's view 
105: Greeven: hair and makeup. Ashley Robinson. Jan- 
klow Harrington: hair and makeup. Lisa Ja> ne Stores 
foi Visages Style, I. A. Covers photographed by Eric 
Huang. 120: Top. left to right silk and wool pants. $945. 
Marj .lane Denzer, White Plains NY; Christian Dior 
Boutique. Beverly I his. Merino wool jacket, $695. Stan- 
lex Korshak, Dallas. Karl Lagerfeld for Chanel cash- 
mere rwinset, sold with skirt. $2,065. Bergdorf ( icod- 
man. Cashmere sweater. S 1 ,545. C hand Boutique. Bev- 
erly Hills. Dallas. Karl Lagerfeld for Chanel cashmere 
iw inset, sold with skirt. $2,1 50. C hand Boutique, NYC. 
Beverly 1 [ills. Silk chiffon blouse. $795. Chanel Bou- 
tique. NYC Cashmere cardigan. $1,715. ( 'hand Bou- 
tique. M C Palm Beach. BcverK Hills: Saks fifth Av- 
Bala Cynwyd PA. Viscose top, $3 1 5. and pants. 
$264. Barneys New York; Blake. Chicago: Madeleine 
C iallaj . 1 os tageles. Bottom, left to right: wool dress. 
tnd cardigan. $350. Saks Fifth Avenue, NYC. 
Cashmere cardigan (o\er). $600, cardigan (under), 
nd -km. $480. Barneys New York; Prada,N> ( . 
Linda Dresner. Birmingham MI; Prada. BcverK Hills 
Merinowoolcardigan, $230, and sweater, $195 Wool 
and polyamide skirl. $255. Bergdorf Goodman: 

Georgma. Manhasset and Hewlett NY. Cardigan and 
sweater also at The Gazebo, Dallas. Skirt also at Scar- 
boro Fair, Glencoe IL. Fleece sweater. $235. Nylon 
and Lycra skirt SI 25. Bloomingdale's: Brava. Clifton 
N J; Nicole Miller boutiques. Merino wool cardigan. 
$135, and sweater. $95. BarnevsNew York; Neiman 
Marcus. Cardigan also at Bloomingdale's. 1 22: Photo 
credits, top left: Ellen Von Unwerth: hair. Thorn Pri- 
ano for Garren. New York, at Henri Bendel: makeup. 
Mai > Greenwell. Right, top to bottom: courtesy of 
Poupie Cadolle: DeBevoise ad: courtesy of Gossard; 
courtesy of the Maidenform Museum: Photofest; cour- 
tesv of the Maidenform Museum: Perma lift ad. Top 
left: Lily of France by Dolores ny Ion and Lv era bra. 
SI 4. Lord & Taylor Macy's. Polyester shirt by Anna 
Sui. $203. Bergdorf C .'loodman: Mac) 's I lerald Square: 
Bullocks Macy's West Wool skirt bv Ralph Lauren. 
$255. Polo Ralph Lauren. NYC Saks Fifth Avenue. 
124: Photo credits, left column, top to bottom: courtesv 
of the Maidenform Museum: courtesv of the Maiden- 
form Museum: courtesv of Exquisite Form; AP Wide 
World; courtesy of Champion Jogbra: courtesv of Lily 
of France; courtesv ofPlaytex Apparel. Right column, 
top to bottom: Roxanne I own: Marc Hispard: Rox- 
anne Low n; Theodora Wood Globe Photos: Corinne 
Day; Michael Ferguson Globe Photos; Guy Marineau 
Bottom right Karl lagerfeld for Chanel outfit. 126: 
Photo credits, top to bottom Roxanne Low it; Eric 
1 luang: Eric Huang: Karl Lagerfeld. Top to bottom: 
Deborah Marquil for Ghost nylon and lace b 
and panties. $24. Chez Lama Lingerie. NYC ': Patricia 
Field. Ni C Deborah Marquit for Ghost nylon and 
lace bras. $45 each. Bloomingdale's; Patricia Field, 
M ( . Fred Segal Melrose Lingerie. Los Angeles Nv- 
lon, polyester, and spandex Wonderbra bv Sara Lee In- 
timates! $26. For more information, call ( 800 1 4 NEW 
BR \ I lements 136: Left, top to bottom: pump bv 
Christian Lacroix. Stocking. $34. Saks Fifth Avenue. 
NYC Pump, $225 Bruno Magli, NYC Stocking by 
Donna Karen Hosiery. Pump, $235. Saks I ifth Av- 
enue. NYC Charles Jourdan stores. Stocking. S6. For 
store information, call (800) 9264022. Pump. $260. 

Bottega Veneta stores. Stocking by Liz Cu 
Hosiery . Pump. S285. Susan. Burlingame 
Magnin. Stocking. $7. Lor store information, i 
9264022. Right top to bottom: pump. 
Boutique, NYC. Stocking bv Hanes Hosiery 
SI 60. Saks Fifth Avenue: Nordstrom. Par 
Bob Ellis. Atlanta: Stuart Weitzman. Las Veg 
mg. $55. Saks Fifth Avenue. NYC. Pump. S2(i 
gory's. Dallas. Stocking by Wolford for I 
national. S47. Bergdorf Goodman: Saks Fifth / 
Nordstrom. Seattle and Portland WA; W'ollV 
tiques. Pump. SI 80. Stradivari. Beverly Hi 
Monica. Stocking by Calvin Klein Hosiery . 
Fifth Avenue; Neiman Marcus; Nordstrom. | 
S230. Yves Saint Laurent Rive Gauche Be 
Fcmme, NYC. Stocking bv Yves Saint L| 
Hosiery. Pump. SI 32. Georgio Shoes.. Gr. 
Fort Lee N J; Nordstrom. Bloomington MN, 
Creek CA. For more information, call (800) 2? | 
Stocking, S27. Bergdorf Goodman: Saks Fifth / 
Fogal of Switzerland stores. Vogue beauty 187| 
credits, clockwise from top left: Mary Hilliar.l 
anne Lowit Roxanne Lovvit Mary Hilliard: Roij 
la; Photofest: James Smeal/Ron Galella; Mic 
guson/Globe Photos: Albert Ortega Ron Cl 
Richard Galella/Ron Galella: Gerardo Soma' 
"line: Albert Ortega Ron Galella. 190: Photo «. 
top to bottom: Photofest; Photofest: Photofe ' 
Beaton; Neal Peters Collection. Far left: wool 
by Mark Eisen. S484. Barneys New York; 
Michi. Charleston SC: Cage. Norfolk and V 
Beach VA. 


210-21 1: Alpaca and wool coat. Silk organza] 
Both also at Saks Jandel, Chevy Chase MD: " 
Chicago. Shoes. Manolo Blahnik.NYC 212:C| 
acetate, and acrylic dress. Sunglasses. Calv in I" 
w ear. 1 hit. Worth & Worth. For stores, call (8 
SHOP. Shoes. Manolo Blahntk. Bergdorf Go 
Manolo Blahmk. NYC. 213: Briefcase. Herme 
Coat also at Anne Klein Boutique. Manila: 
Nordstrom. Paramus NJ. Sunglasses. Calvin I 
wear. Briefcase. Hermes Hermes sto:. 
stores, call (800) 4414488. Shoes. Manolo B1 
Bergdorf Goodman: Manolo Blahmk. NYC 2 
cose, wool, and polyester coat. S4.640 
Fifth Avenue. Troy MI, San Antonio. Briefcase, < | 
Chanel Boutique'. NYC . Washington DC. Sai 
eiseo. Beverly Hills. Shoes. Manolo Blahnik. B*.l 
Goodman; Manolo Blahnik, NYC. 216: C "oat \ 
Hat. Dolce & Gabbana. Saks Fifth Avenue. 
Manolo Blahnik. NYC. 217: Dress also at Lind 
ner. NYC. Birmingham Ml: Maxfield, I 
Coal also at Nan Duskin. Philadelphia. Ballimor 
glasses. Calv in Klein Eyewear. Saks Fifth AvenJ 
ganizer, BarnevsNew York Collection. Barney J 
York. Shoes. Manolo Blahnik. Bergdorf Gc 
Manolo Blahnik. NYC. 218: Coal and body sud I 
Giorgio Armani Boutique. Manhasset \ N B I 
Palm Beach. Shoes. Manolo Blahnik. NYC. Bnj 
Gucci. Gucci Boutique. NYC. Chicago, Houstol 
Coat also at Bloomingdales. Hal. Dolce & ( u'l 
Saks Fifth Avenue Shoes. Manolo Blahnik. B/ 
New York; Neiman Marcus: Fred Hay man. B| 
Hills. Briefcase. Samsonite. In this story : .ill gloveJ 
imar. Neiman Marcus: Nordstrom, Paramus N 

The scoop on suits 

220-22 1 : Suit. S2.88I I. C otton blouse. Suit also al (I 
Boutique. San Francisco. Stockings. Calvinf 
I losiery Saks Fifth Avenue: Neiman Marcus: I 
strom Shoes. Manolo Blahnik Bergdorf Gool 
Manolo Blahnik. NYC. 222: Wool jacket and skirJ 
el also at Marshall Fields. Silk and poly ester hi 
1 landbag. Hermes. Hermes stores For more storl 
(800)4414488. Shoes. Manolo Blahnik. WC [ 
Wool sun and sweater. 1 landbag. Hermes StO 
Calvin Klein Hosiery. Niks I ifth Avenue: Ncimail 
cus; Nordstrom Shoes. Manolo Blahnik. \ YC I 
Wool jacket and skirl Stockings. Calvin Klein H«l 
Shoes. Manolo Blahnik Bergdorf C ioodman; M| 
Blahnik,NYC 226: W huc-and-blue tote. L 1 f 
order, call (800) 809-7057. Black handbag, 1 fc 
mes stores. For more stores, call (800) 44 1448* 
Manolo Blahnik. 227: W col, rayon, and cotton | 




V C)C,L I A I 

art. Jacket also at Nordstrom, Los Angeles. Stock- 

m Klein Hosiery. Shoes. Manolo Blahnik. 

( nxxlman; Manolo Blahnik. NYC. In this sto- 

pearl necklaces. Mikimoto. Mikimoto Boutique, 

For more stores, call (800) 43 14305. 

ctly speaking . . . 

Suit also at Giorgio Armani, Palm Beach. 229: 
jacket also at the Calvin Klein Store, Boston. Wool 
ilso at Hudson's, Detroit; Marshall Field's. 230: 
jacket and skirt. 231: Wool jacket and skirt. 232: 
jacket and skirt. Cashmere bra. All also at Neiman 
us. Troy MI. 233: Wool jacket. Acetate and ray- 
Shoes, Isaac Mizrahi Shoes. Neiman Marcus. 

tin's clean sweep 

■ Stockings, Calvin Klein Hosiery. 239: Wool and 
nerc jacket and skirt. Stockings, Calvin Klein 
I :ry. Shoes. Calvin Klein Footwear. Saks Fifth Av- 
i Nordstrom, Canoga Park CA. 240: Stockings, 
I n Klein Hosiery. 241: Wool and cashmere coat. 

Irin's flip side 

IvVool skirt also at the Calvin Klein Store, Dallas. 
1 245: Silk charmeuse dress. In this story: all ear- 
Carolee. Bloomingdale's; Saks Fifth Avenue; 
Ian Marcus. All fishnets, DKNY Coverings. Red 
fellows by Tracey Reinberg for "The Very Idea!" 
B87-S398). Available through Neotu Gallery, NYC 
1343-1001) or Dialogica, Los Angeles (2 13/95 1- 
|. Chair by Palazzetti. Photographed at the Roy- 

s the limit 

263: Flowers throughout the house by Joseph 
450 1 12 North Stanley, LA. CA 90036 (2 1 3/65 1- 
). Specializing in the marketing and sale of his- 
llly significant architecture in southern Califor- 
rosby Doe of Mossier, Deasy & Doe, 345 North 
le Drive, Suite 105, Beverly Hills, CA 90210 
275-2222). Sources used in the furnishing of their 
Pine house: Bill Reed/Modem Times, 338 North 
rea Avenue, LA. 90036 (2 1 3/930-1 1 50); Linda 
ron/Skank World, 7205 Beverly Blvd., LA. 90036 
939-7858); Modernica, 7366 Beverly Blvd., LA. 
0036(213/933-0383); Retro Gallery, 524 1/2 
i La Brea Avenue, L.A. 90036 (2 1 3/936-5261 ). 
Shetland wool turtleneck, $200. A.P.C., NYC. 
>ilk dress. Richard Tyler, $3,400. Bergdorf Good- 
Saks Fifth Avenue, NYC; Neiman Marcus; Tyler 
icante, Los Angeles. 262: Cotton and rayon skirt, 
Bloomingdale's, NYC; Stanley Korshak, Dal- 
'hoes. Manolo Blahnik. 

making of a model 

joose-down vest, Lands' End, $30. To order, call 
3564444. Vintage jacket, Adidas. Cheap Jacks, 
T-shirt, Hanes. Cotton jeans, A.P.C., $1 30. A.P.C., 
268: Top left: cotton T-shirt, Hanes. Cotton jeans, 
1, $85. A.P.C., NYC. Top center: jacket, vest, 
er, and skirt, Ralph Lauren Collection. Top right: 
-down vest. Lands' End. Jacket, Adidas. T-shirt, 
Cotton jeans. A.P.C., $ 1 30. A.P.C., NYC. Cen- 
ylon tank top, $205. Moschino Couture. Neiman 
us. Nylon and spandex panty, Betty Wear, $36. Vil- 
Jra Smyth, NYC; Uptown Bra Smyth, NYC. 269: 
top to bottom: T-shirt, Hanes. Dress, Ralph Lau- 
ollection. White T-shirt, Hanes. Vest, Lands' End. 
:t, Adidas. Pants, A.P.C. Inset: vest, Lands' End. 
:: cotton T-shirt, Corinne Cobson, $69. Gallay/Mel- 
Los Angeles. Panty, Betty Wear. 271: Silk 
neuse dress. Shoes, Manolo Blahnik. 


ilk and polyester blouse, Marc Jacobs, $840. Bloom- 
le's; Ultimo, Chicago; The Gazebo, Dallas; I. Magnin. 
lace: for a store near you, call (800) 5260649. 

Red-hot nails 

275: Silk and polyester blouse. Marc Jacobs, $840. 
Bloomingdale's; Ultimo, Chicago; The Gazebo, Dallas; 
I. Magnin. Manicure, Sheril Bailey. 

Bright ideas 

276: Far left and second from right: Chanel, $ 1 ,500 each. 
Both at Chanel Boutique, NYC, Chicago, Beverly Hills. 
Second from left: Erickson Beamon for Anna Sui, $370. 
Far right: Erickson Beamon for Anna Sui, $1 65. Both 
at Anna Sui, NYC, Los Angeles; Barneys New York. 
277: Left and center boots, $325 a pair. Chanel Boutique, 
NYC; Saks Fifth Avenue, NYC, Atlanta, Palm Beach. 
Right boot (sold without studs), $40. H. Kauffman & 
Sons Saddlery, NYC. 278 (see diagram above): ( 1 ) Gi- 
anni Versace, $1 ,235. Bergdorf Goodman; Gianni Ver- 
sace boutiques; Neiman Marcus. (2) Chanel, $1,385. 
Chanel Boutique, NYC, Beverly Hills, San Francisco. 

(3) Calvin Klein Accessories, $585. Bergdorf Goodman. 

(4) Lana Marks, Lana of London, $4,395. Bergdorf 
Goodman; Saks Fifth Avenue, NYC, Beverly Hills; Stan- 
ley Korshak, Dallas. (5) Hermes, $ 1 1 ,500. Hermes stores, 
or call (800)4414488. (6) Hermes, $3,400. Hermes 
stores, or call (800) 4414488. (7) Gianni Versace, $1 ,235. 
Bergdorf Goodman; Gianni Versace boutiques; Neiman 
Marcus. (8) Judith Leiber, $6,225. Saks Fifth Avenue, 
NYC. (9) Ralph Lauren Handbags and Luggage, $995. 
Polo/Ralph Lauren, NYC. 279 (see diagram above): ( 1 ) 
Manolo Blahnik black patent leather Mary Jane pumps, 
$465. Barneys New York; Neiman Marcus; Fred Hay- 
man, Beverly Hills. (2, 3) Manolo Blahnik red and green 
patent leather Mary Jane pumps, $465 each. Manolo 
Blahnik, NYC. (4, 5, 6) Manolo Blahnik electric blue, 
turquoise, and lilac patent leather pumps, $395 each. 
Manolo Blahnik, NYC; Neiman Marcus. (7) Bottega 
Veneta pumps, $260. Bottega Veneta stores. (8,9) Chris- 
tian Louboutin yellow and purple pumps, $375 each. 
Christian Louboutin, NYC; Neiman Marcus, Los An- 
geles. ( 1 0) Calvin Klein Footwear, $295. Diego Delia 
Valle, NYC. (11) Isaac Mizrahi Shoes, $230. Neiman 
Marcus. (12) Gianni Versace pink suede loafer, $525. 
Bergdorf Goodman; Gianni Versace boutiques; Neiman 

Is there a future for fur? 

281: Shearling coat, $2,200. Also at Bergdorf Goodman. 
282: Photo credits. 1950s: Ava Gardner: © 1950 Paul 
Hesse/Motion Picture & TV Photo Archive; Marilyn 
Monroe: Neal Peters Collection; Elizabeth Taylor: the 
Kobal Collection. 1960s, clockwise from bottom left: 
Archive Photos/ Archive France; Gene Laurents; Bert 
Stern; Louis Faurer; Bert Stern; Irving Penn; Irving Perm. 
283: Photo credits, 1 970s, clockwise from top left: Jean- 
Pierre Zachariasen; £7/e-Hans Feurer; Jean-Pierre 
Zachariasen; Irving Penn. 1980s, top: Anthony Savig- 
nano/Ron Galella; bottom: Scott Downie/Celebrity Pho- 
to. 1990s, clockwise from top left: Guy Marineau; Guy 
Marineau; Pierre Scherman; Pierre Scherman. 1990s, 
top row, left: coat, Fendi, $3,500. Fendi-New York. 
Right: coat, Fendi, $ 1 5,000. Fendi-New York. Bottom 
row, left: polyester shirt, $202. Wool skirt, $ 1 89. By Anna 
Sui. Anna Sui, NYC, Los Angeles; Saks Fifth Avenue, 
NYC. Hat, James Coviello for Anna Sui. Stole, Erick- 

son Beamon for Anna Sui. Belt, Anna Sui. Right: coal. 
Marc Jacobs for Birger Christensen, $ 1 0,500. Neiman 

Dress for less: gray matters 

284: Cashmere, silk, and wool sweater and cardigan. 
Wool skirt. 285: Wool sweater. Wool skirt. Vogue Pat- 
tern #88 1 1 . Fabric from B & J Fabncs, NYC 286: Trop- 
ical wool jacket and pants. Jacket also at Saks Jandel, 
Washington DC, Chevy Chase MD; Stanley Korshak. 
Dallas. Pants also at the Calvin Klein Store, Cleveland. 
Nylon and rayon vest. Bag. Marc Jacobs. To order, call 
(212) 343-0222. Shoes, Manolo Blahnik. Bergdorf Good- 
man; Manolo Blahnik, NYC; Bob Ellis, Charleston SC, 
Atlanta. 287: Wool and Lycra sweater also at Dayton's. 
Minneapolis; Hudson's, Detroit. Wool jacket. Vogue 
Pattern #1265. Fabric from B & J Fabrics, NYC. Wool 
pants. 288: Wool cardigan. Wool and polyamide halter 
and pants. 289: Wool dress. Shoes, Manolo Blahnik. 
Bergdorf Goodman; Manolo Blahnik, NYC; Bob El- 
lis, Charleston SC, Atlanta. In this story: all watches. 
Aaron Faber, NYC. All belts, Marc Jacobs. To order. 
call (212) 343-0222. All fishnet stockings, Danskin. For 
stores near you, call (800) 288-6749. 

Vogue style 291: Tommy Boy Music. Inc., 902 Broad- 
way, NYC 10010 (212/388-8300); for more informa- 
tion on designs by Alex Locadia, contact Christopher 
Owles at Afuture, 241 Avenue of the Americas, #8H. 
NYC 10014 (21 2/727-7487). 292: (1 ) Paul Smith Inc., 
108 5th Ave., NYC 1001 1(212/627-9770); (2, 6. 13) D. 
F. Sanders & Co., 952 Madison Ave., NYC 1 002 1 
(212/879-6161); (3. 10, 12) Tiffany & Co.. 5th Ave. and 
57th Street, NYC 1 0022 and all Tiffany & Co. locations, 
or by calling (800) 5260649; (4) MXYPLYZYK, 1 25 
Greenwich Ave., NYC 1 00 1 4 (2 1 2/9894300); (5) 
Smythson of Bond Street (USA), 1 38 Lexington Ave., 
NYC 10016 (800/345-6839); (7) Bulgari Jewelers, 730 
5th Ave.. NYC 1 00 1 9 and all Bulgari locations, or by 
calling (800) BULGARI; (8) Pucci/Ecart Internation- 
al, 44 West 1 8th Street, NYC 1 00 1 1 (2 1 2/63343452); (9, 
1 1 ) Hermes Boutique, 1 1 East 57th Street, NYC 10022 
(2 1 2/75 1-3 181) and Hermes boutiques nationwide 
(800/4414488). Vogue's last look 308: First column, top 
to bottom: watch, $ 1 50. Saks Fifth Avenue; Macy's Her- 
ald Square, Adventura FL; I. Magnin. Watch. $1,100. 
Hermes stores, or for more information call (800) 44 1 - 
4488. Watch, $375. Tiffany & Co. stores, or for more 
information call (800) 5260649. Watch, $790. Tiffany 
& Co. Second column, top to bottom: watch, $3,900. 
Cartier boutiques, or call (800) CART1ER. Watch, $350. 
Saks Fifth Avenue. Third column, top to bottom: watch, 
$795. Saks Fifth Avenue; Tourneau, NYC, Costa Mesa 
CA; Neiman Marcus. Watch, $ 1 ,700. Bulgari, NYC. 
For more information, call (800) BULGARI. Watch, 
$795. Saks Fifth Avenue; Tourneau, Palm Beach and 
Bal Harbour FL. Fourth column, top to bottom: watch, 
$8,000. Cartier boutiques, or call ( 800) CARTI ER. 
Watch, $3,990. Saks Fifth Avenue; Cy Fredrics, Glen- 
view IL; Feldmar Watch Co., Los Angeles. Fifth col- 
umn, from top: watch, $ 1 ,400. Tiffany & Co. stores, or 
for more information call (800) 5260649. Watch, $6,200. 
For store information, call (2 1 2) 58 1 -0870. Watch. $85. 
Bloomingdale's; Saks Fifth Avenue; Neiman Marcus. 



Page 213. Dress: Vogue Pattern #8991, 

View A. Sizes 6- 16. Size 10: 1- yards 

of 60" fabric. USA $11.50. 

Page 285. Skirt: Vogue Pattern #8811, 

View A. Sizes 6-16. Size 10: VA yards 

of 60" fabric. USA $11.50. 

Page 287. Jacket: Vogue Pattern 

#1 265, View Jacket. Sizes 6-22. Size 

10: VA yards of 60" fabric. USA $1 1.50 

, I (ON DE \ \ST PUBLICATIONS INC ALL RIGHTS RESERVED. Vogue ISSN 0042-8000 is published monthly by The Conde Nasi Publications Inc.. 9 100 Wilshire Boulevard, Beverly Hills, t A .M- 1 
'iPAL OFFICE 350 Madison Avenue. New York. NY 1001 7. Steven T. Florio. President; Pamela M. van Zandt. Executive Vice Pres.dent-Secreiary: Eric C. Anderson. Executive Vice President-! reasurcr. Sccond- 
ostagc paid at Beverly Hills CA. and al additional mailing offlces. Authorized as Second-Class mail by the Post Office Department. Ottawa, and for payment of postage in cash C anadian Publication Mail Sales Prod- 
I cement No 191035 Canadian Goods and Services Tax Registration No. R123242885. Subscriptions in U.S. and possessions. S2X lor one year: $54 for two years, in Canada. $50 lor one year including GS I Use 
S50 for one year, payable in advance. Single copies in U.S.. $3; in Canada. S3.50. For subscriptions, address changes, and adjustments, write to VOGU E. Box 55980. Boulder, CO 80322, Eight weeks are required lor 
I of address Please Jiv e both new and < .Id address as printed on last label. First copy of new subscription will be mailed within eight weeks after receipt of order. VOL. 1 84. NO. 8. WHOLE NO 3349. Manuscripts. 
Ls. and other material submitted must be accompanied by a stamped self-addressed envelope. Vogue is not responsible for joss.dam.ige, or anv other injury as to unsolicited nianuscnpts. un^hcitcd ;utwork ( including 
Pimilcd to drawings photographs, or transparencies) or any other unsolicited material. PRINTED IN THE U.S.A. POSTM ASTER: SEND ADDRESS CHANGES TO VUUUfc, BOX 20VBU, 
Dl R. CO 80322. SUBSCRIPTION INQLIRIES: Please- write to VOGUE, Box 55980, Boulder. CO 80322 or call (800) 234-2347. Address all editorial, business, and production correspondence to Vogue 
Inc. 350 Madison Avenue. New York. NY 10017. 


Editor: Ca 

atts Price 

.. Concord 






I Bulgari 





I Concord 

Call in the tanks: The streamlined glamour making a comeback 
in fashion has sparked a timely demand for this classic watch 

hat timepiece bands together women as dh erse as Barbra Streisand. Lauren Hutton, and 
Cosima von Billow? It's the leather-strapped, rectangular tank w atch. adorned with Roman 
or Arabic numerals and right in sync with the tailored look returning to fashion this fall. 
"There's a « hole revival going on in the classic tank." says Edward Faber, co-owner of New York's 
Aaron Faber ( taller) . "'I see women wearing them as they would an l.D. bracelet it's got the same 
strong, masculine image." 

This renewed interest in tank watches is underscored by recently unveiled designs including the ster- 
ling-silver tank from Anne Klein. Carder's square-faced eighteen-karat-gold Tank Obus. the stainless- 
steel Hampton by Baume & Mercier. and the eighteen-karat-gold Gondolo by Patek Philippe all per- 
fect for this season's uncluttered, no-nonsense look. • 





VOGl E A I '(, I'n 1 1994 


3 9042 03746556 1 


S Issue 


mdy's Perfect: 

up J^M 

the Shape 
Back into 




9- & 

= _ Anne Klein 

Editor: Ca 

atts Price 

£ 4 Concord 


r Mtl\ \ 





I Bulgari 

//'/? / 


i\ V 


Tiffany & 
* Co. 





Call in the tanks: The streamlined glamour making a comeback 
in fashion has sparked a timely demand for this classic watch 


hat timepiece hands together women as diverse as Barhra Streisand. Lauren Hutton. and 

( 'osima von Billow? It's the leather-strapped, rectangular tank watch, adorned with Roman 

or Arabic numerals and right in sync with the tailored look returning to fashion this fall. 

"There's a whole revival going on in the classic tank.'' says Edward Faber, co-owner of New York's 

Aaron Faber (iallers . "I see women wearing them as they would an I.D. bracelet it's got the same 

strong, masculine image." 

This renewed interest in tank watches is underscored by recently unveiled designs including the ster- 
ling-silver tank from Anne Klein. Carrier's square-faced eighleen-karat-gold Tank Obus. the stainless- 
steel 1 lampion by Baume & Mercier. and the eighteen-karat-gold Gondolo by Patek Philippe all per- 
fect for this season's uncluttered, no-nonsense look.« 




ITEM #899111 

1-800-622-9748 (MACYS WEST) 







Boiled wool jacket; 1.140(H). Skirt; 660.00. Wool turtlencck; 435.00. All, imported. In Collectors. 1-800-695-8000 

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From Bonnie Strauss, a royal pairing of richness & delicacy. Velvet Empire, over flowing georgette. 
I'oh ester-nylon and rayon, i to 11 198.00 Fifth Avenue <* selected stores. For information, please call 1-SOO-22.V WO 

: ashion 

82 Fashion front By William Norwich 






Vogue's View 

Portrait of a former punk From safety pins to padded fannies, 
English designer Vivienne Westwood has made a career out of 
shocking the establishment. Marion Hume talks to the woman 
whose quirky mix of traditional tailoring and irreverent humor has 
helped put the fun back into fashion 

Paris couture diary '94 An illustrated account of the fall haute couture 
collections by Maurice Vellekoop 

'40s-something They've trolled every decade from the fifties to the 
seventies, and now designers are poaching elements from the forties- 
such as square-shouldered jackets, tipped hats, snoods, and chunky 

Waist case Take a deep breath. The corset and the "waspie" waist- 
made popular by Christian Dior and Warner's in 1 947-are receiving 
unanimous support again 

Rubber wear When designers stretched rubber into shifts, wrap skirts, 
and long tank dresses for fall, they could not have envisioned 
the bounce that fashion's favorite new fabric put back into 
Candacc Bushnell's life 

L.A.'s new age Ever since West Coast designers Richard Tyler and 
Mark Eisen headed east, a new crop of talent has come into its own in 
Los Angeles. Laurie Drake hits the streets 

288 Elements Snake charmers: In search of modern luxury? Python with 
its sexy rock 'n' roll edge has fall all wrapped up 

332 In-store with Vogue 

near you 

465 Point of view 

a close-up on modern style at a retailer 



A sophisticated season The celebrated streets and salons of I 
provide the perfect backdrop for fall clothes that blend menswear i 
with modern femininity. All elements conspire to capture a romani] 
tailored tweed suits and overcoats paired with the drama of black, 
or ankle-grazing dresses, and the indispensable high heel. Photog 
Ellen Von Unwerth— in central Europe's most beautiful city n 
Auermann embodies the spirit of a new glamour 

482 The color-code Every wardrobe could stand some brilliant tou 
this fall brings color galore— the louder and bolder the better. 
Photographed by Steven Meisel 

Fashion's mavericks They didn't get their rebel reputations 
follow ing the pack. Fashion's favorite bad boys, John Galliano 1 
Paul Gaultier, continue to use cultural references and eclectic 
inspirations to create collections that defy the trends and, in < 
inevitably start their own. Photographed by Steven Meisel 

Opposite attractions For nighttime drama, two options are < 
tailored tuxedos and fluid dresses. Both look equally sexy (esp 
black, the quintessential evening shade), celebrating the body's < 

Modern classics Geoffrey Beene and Bill Blass: Season after i 
their names are synonymous with great American design. Been 
says his sexy dresses "scream of femininity"— has a flair for the < 
Blass turns out tailored pieces that reflect what he calls a "sports^ 
philosophy." But this fall, they have the same goal: to breathe i 
into their chic signature styles 

Pure fluff There's something utterly unreal in the air this season. 
Fake fur— in a vibrant array of colors— is flying on coats, suits, hats. I 
accessories to lend a sense of humor to fall's ultraglamorous mc 
Photographed by Steven Meisel 

Shear magic Amid fall's profusion of furs (both real and faux), s 
stands alone. Less obvious than traditional fur and less frivolous t 
fake stuff, it's the ideal choice for abbreviated jackets that combii 
a cardigan with the warmth of a coat 

Technovlslon Fashion is facing the future in style, as designers j 
to technology for their latest creations. Borrowing high-perform^ 
fabrics and athletic shapes, they're creating street-smart clothes t 
functional yet sexy-perfect for nightlife or the sporting life 

Body heat Finding inspiration in everything from running tig 
Blade Runner, designers are mixing chic shapes with high-tech 1. 1 
The result: a new focus on the figure and on modern fabrics (sue 
rubber and PVC) that mold to the body like sleek second skin 

Talking fashion New York-style stories: They may have trie 
best to adopt post- 1980s austerity, but now the social stars in 
Manhattan are happily dressing up again .... Hollywood swing | 
Who says fashion does lousy box office in L. A.? Today's bright 
young stars certainly work it to their advantage 

624 In this Issue 

628 Vogue's last look Prepare for ice storms this fall as diamond 
bracelets now worn from morning till night make clear that t' 
days of the staid, formal stone are over 

COVER LOOK Color makes a strong comeback this fall, here on 
Jacobs's silk camisole dress with ultraglamorous rhlnestone straps, i 
by modek>f-the-moment Nadja Auermann. Shearling coat by Marc J 
for Birger Christensen. Earrings, Tiffany & Co. Bangles, Van Cleef & / 
Bracelet, Belperron at Verdura. Balancing hues this vivid: a strong fo,« 
on the eyes with Maquiriche CremePowder EyeColour Duo In Biscott 
du Soir. Lips take a more neutral route with Le Brillant Glace Lustrou ftp 
Gloss in Rose Solell. All by Lancome. Details, stores, see In This Issw 
Hair, Garren of Garren, New York, at Henri Bendel; makeup, Francotejl 
Fashion Editor: Carlyne Cerf de Dudzeele. Photographer Steven Meb; 






fitted, jet beaded silk 
pe dress. Dramatic 
•ffon panels float from the 
oulders. Black magic 
; >m Gianfranco Ferre, 
ond Floor. 212 753 7300 







3alth & Beauty 

Stamping out STDs With sexually transmitted diseases affecting 
more than one in five Americans, women must take charge of their 
reproductive health. Deborah Pike investigates new methods for 
prevention, screening, and treatment 

Prozac nation Growing up isn't always easy, and for Elizabeth 
Wurtzel, who has been battling depression since childhood, it has 
meant daily doses of antidepressants^including lithium and Prozac. 
Here, in an excerpt from her forthcoming book, she tells of the ups and 
downs of a life on prescription drugs 

Boyond Prozac Drugs may soon be used to banish not only 
depression but personality traits like shyness and sensitivity. Peter 
Jaret reports on the hope and the hype of "designer brains" 

Health report By Isadore Rosenfeld, M.D. 

i Fitness No-sweat exercise: Can you get healthier without really 
trying? Rachel Urquhart seeks the answer along the fitness spectrum, 
from the low-tech to the cyber side of exercise 

Fitness notes By Deborah Pike 

Vogue Beauty 

• High society As grunge gives way to glamour, sexy, upswept hair is on 
the rise again. In an effort to update her image and turn a few heads, 
Helen Bransford road tests the new look in New York and Nashville 

i Polishing up The return of refinement and dramatically dark color is 
making the manicure a must for fall. Wendy Schmid surveys a handful 
of cities that take nails seriously 

! All in the family Born into a legendary beauty empire, fresh-faced 
Aerin Lauder finds that hard work and a little grandmotherly advice 
go a long way when climbing the corporate ladder. Rachel Urquhart 
looks into the business of being a Lauder 

i Beauty bets Hot pinks: With color coming on strong this season, all 
eyes are on pink 

! Blond on blond Novelist Kathryn Harrison was born blond, with a 
mane lush enough to earn her work as a hair model. But she was also 
born smart and finds, in a culture that doesn't think the two traits go 
together, old stereotypes die hard 

I Beauty answers Lift off: Cosmetics companies are touting temporary- 
lift products as an alternative answer to the call of gravity 

j Beauty clips By Amy Astley 

I Makeup pumps up After several seasons of barefaced waifs, 
makeup is back with a bang— and showing its colors, in a bold palette 
of reds, pinks, and purples. Amy Astley looks at the face of the future 

) Nobody's perfect Naomi hates her feet. Cindy worries about 

cellulite. Christy is touchy about her hands. Linda is sensitive about her 
mouth. Nadja looks in the mirror and sees nothing special. Charles 
Gandee listens in as five supermodels rate themselves. 
Photographed by Penn 


3 Letter from the editor 

3 Masthead 

\ Contributors 

) Talking back Letters from readers 

3 Up front Copy rites: Some designers consider imitation the highest 
form of flattery. Others think it's a rip-off. Since copying is big 
business— and fashion's quickest messenger— can designers tell each 
other when to knock it off? Katherine Betts looks for answers 

167 People are talking about Male bimbos . . . Sunflower chic . 
Sexy Republicans . . . and more. By Candace Bushnell 

Vogue Arts 

293 Movies Lost innocence: In Natural Born Killers, Oliver Stone looks | 
into the current cult of American celebrity as two glamorous serial 
killers seduce the nation on TV, while in Quiz Show, Robert Redforf 
revisits the notorious 1958 TV quiz-show scandals. John Powers 
plugs in 

302 Movies History quiz: In the late 1 950s, Americans tuned in each 
week as "real life" contestants won fabulous prizes on TV's new 
genre, the game show— only to discover it was a scam. Richard 
Goodwin, then a young congressional staffer assigned to the 
investigation, watches himself being played by Rob Morrow in 
Robert RedfoTd's new film. Qui: Show, and relives the scandal 

324 Music Making jazz go pop: By wedding her seductive jazz singing t 
songs by Joni Mitchell, Robert Johnson, and Van Morrison, 
Cassandra Wilson has staked out her own cool genre. Martin 
Johnson catches the beat 

328 Television Sitcom showdown: When two hugely popular situation 
comedies go head-to-head, the battle tells us a lot about the kind of 
company we want to keep. Robert E. Sullivan. Jr., tunes in 

342 Books State of the union: A new account of the Roosevelts and 
America during wartime reveals conflicts both public and private, 
while a new novel examines how one family struggles to keep the 
peace on the home front. Rhoda Koenig takes a look 

346 Books Paternity and suits: Men began wearing suits after the Fr 
Revolution, but two centuries passed before women adopted the 
style. Suzy Menkes peers inside the suit case at a new book on the 
discriminatory' history of this modern uniform 

348 Books Setting the scene: Murder, loss of innocence, and erotic 
obsession are at the heart of some of this fall's best new books 

352 Travel Prague's new face: The ancient city of Prague has suddenly 
become a mecca for youth. With its raucous music and literary 
scenes, 24-hour bars and nightclubs, cheap rents and beer, the city i 
attracting an influx of American expatriates. Edmund White lakes 
along a young guide to experience the disco amid the art nouveau 

528 Showtime As America's first racy musical heads back to Broadway | 
John Heilpern gets the score on Show Boat's colossal new revival 

532 The glamorlzatlon of violence Brutality and gritty imagery are 
dominating popular culture, fashion, and an increasingly tabloidy 
real life. Have we hit a perilous peak, wonders Luc Sante, or is the 
obsession simply a grand old tradition? 

536 Our girl In Havana Castro clings to power, the economy withe 
to nothing, and the people flee in inner tubes or scrounge for sug 
and beans. As Julia Reed undergoes a surreal saga of thievery ; 
secrecy in Havana, she begins to wonder which is more ludicrou 
life in Cuba or the American government's response to "our 
closest enemy" 

542 Depp gets deeper Johnny Depp escaped an unhappy childhood 
to become a teen idol, then fled that image by playing a bunch of 
quirky, alienated youths, and has now graduated to adult roles. But 
as James Ryan learns, the actor hasn't forgotten his roots— or his 
taste for the bizarre. Portrait by Annie Leibovitz 

546 The painted word Of all the modern American masters, Cy 

Twombly may be the least modern and the least American. As he 
prepares for a major retrospective, Dodie Kazanjian finds him on 
the Italian coast, immersed in his private world of paint and poetry. 
Photographs by Bruce Weber 

Vogue Style 

583 Living Past master: Drawing on his vast knowledge of design history 
and using his own family chateau as a laboratory, Andre Dubreuil 
has become the favorite designer of the couture crowd. Hamish 
Bowles takes his measure 

588 Food Table-hopping: Tirelessly subjecting himself to the mix of 
beautiful people, exquisite decor, and culinary innovation that is 
New York City's revitalized restaurant scene, Jeffrey Steingarten 
seeks out the best of the best and the best of the rest 

610 Horoscope By Athena Starwoman 

Printed in the I N • 




Alvin Goldfarb Jewelry Inc, 305 Bellevue Way N. E, Bellevue, WA (206) 454-9393 

blney Mobell Fine Jewelry, Lobby Favrmount Hotel, 950 Mason Street, San Francisco, CA (415) 421-4747 

Packouz Jewelers, 522 S.W Broadway, Portland, OR (503) 228-3111 

Barry Peterson Jewelers, 511 Sun Valley Road, Ketchum, ID (208) 726-5202 

Cellini timepieces available at these Official Rolex Jewelers. 






Ceoi _ 











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To place your order by phone or to 

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You want 

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This is it 


■ ■ 

indy is wearing ColorStay™ Lipcolor in Sienna and Revlon Nail Enamel in Toast of New York © 1994 Revlon 

Introducing ColorStay - Lipcolor that 


• Color stays on your lips. 

• Sets in 60 seconds for all-day wear. 

• Won't kiss off on your teeth, 
your glass, or him. 

Because a woman should 
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But not with her lipstick! 

ColorStay-it's a revolution 
for your lips! 




T < 












IX n 




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New degrees of expression. 

This season, express your colour by degrees. . . 
in monochromatics from subtle to intense. . . from matte elegance 
to colour that glows from within. 

Invent colour coordinates all your own with Lancome's 

Personal Eyes Duos. Play with the new combinations of 

Maquiriche Powder Trio Shadow and Liner. Accentuate with 

Lancome's new eye-defining pen, Artliner. 

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Discover color so pure, 
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Because there's no talc, no 

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And Blushing comes with a 

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■ M 


y ■ 

^Bl |- -v"--^^'^ 












lulia is wearing Colour Rune Lipcolour an 
in Bayberrv and Couleur! Couleur! Eyeshadow 






from earth's most 

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Riches of spice, apple, 

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A melange of colour to 

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© 1994 COSMAIR, INC. 



for dry skin 

Turnaround Cream for Dry Skin. Now dry and very dry skins can say good riddance to fine lines, 
signs of past sun damage, dullness. Allergy Tested. 100% Fragrance Free. 

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/* O 

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Finally, reveal your best skin 
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Skin Revealing Lotion 



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The Manhattan collection for the metropolitan set in mahogany and midnight blue alligator. Top to bottom: Park Avenue Pouch with 

shoulder strap, Lexington BagW\x.\\ top handle, and Madison Clutch with new, signature Lana of London gold chain. Belt in alligator with sig 

Lana of London gold buckle. Sixty colours of alligator, ostrich, and lizard. Available at SAKS FIFTH AVENUE and BERGDORF GOODMAlJ 

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What makes an impressive debut? 

Beaujolais nouveau } autumn foliage, 




Ming the Sonoma Collection, featuring classic styling with relaxed silhouettes. Sonoma leather provides the highest degree of water 
nicy and stain resistance without compromising its soft, supple feel. Available in textured sueded nuhuc in a range of subtle earthtones, 
natural full-grain leather. From left: Small Drawstring, $198; Backpack, $360; Medium Bucket Zip, $218; Flap Bag, $238. 



jtter from the editor 


shion's new direct* 

At thd Paris couture showings in July, you could easil> 
that the fashion cycle— the closest thing we have to a | 
petual-motion machine— has turned once again. The i 
five years have seen a particularly intense reaction tol 
power clothes of the go-go eighties. Soft shapes were l| 
but layered clothes? Layering can provide extra war 
but all too often the layers shown by designers in the i 
nineties were a means of covering the nudity and tri 
parent fabrics that were featured so prominently onl 
runways— but rarely showed up anywhere else. Most ofl 
garments looked like yesterday's slips found in a used-clj 
ing store, and these droopy dresses were always worn < 
flat shoes, sneakers, or combat boots and socks. Hare 
lighthearted look, and perhaps even a bit condescenc 

The early-nineties guilt trip— or maybe just the rej 
sion— is over. In any case, the era of penitence has i 
ed, and fashion is fun again. What both the March re* 
to-wear and the July couture shows demonstrated is I 
we are back to grown-up clothes and all-out glamc 
High-heeled strappy shoes and sheer stockings hj 
kicked aside the combat boot and the sneaker. Vi 
makeup has ousted the "eco" natural look. Wimpy 
dresses and oversize dungarees are making way for| 
lored clothes— a snappy tuxedo or a corseted ever 
gown. Black has gone from matte to shiny and lustrl 
and is sharing space with bright, vivid colors. If last] 
the dress you "had to have" was a neutral-colored 
slip, this year it is one in a new high-tech fabric or 
or rubber. And that kind of innovative and provocaj 
thinking is what informs the best fashion this seasc 
and this issue of Vogue. I hope you will enjoy both. 


Shifting gears: Striking a bold contrast with last years dressed-down, 
casual styles, this season's glamorous new looks are proof that change 
in the air. top to bottom (left to right): Wearable Energy's high-tech vinyl i 
dress is worn with heels, while last year a simple A-line tank dress by r 
Klein was shown with tennis shoes, December 1993. The leg gets exp 
in strappy high heels this fall, but last year-the year of the boot-the I 
went into hiding, November 1993. A corseted evening gown by Valentinl 
the recent couture showings is a long way from last year's rap-inspired, | 
baggy couture overalls by Versace. Showing the shape of things to i 
Lycra-blend tailored tuxedo by Anna Sui differs dramatically from a 
easy" silk Armani suit, March 1994. 


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Editor in Chief 

Fashion Director GRACE CODDINGTON 

Managing Editor LAURIE JONES Art Director RAUL MARTINEZ Creative Director ANDRE LEON TALLEY 


Executive Fashion Editor PHYLLIS POSNICK Fashion Director. Accessories/Shoes CANDY PRATTS PRICE 

Fashion News Director KATHERINE BETTS Fashion Market Director SUS1 BILLINGSLEY 

Fashion Editor at Large CARLYNE CERF de DUDZEELE 



Bookings Editor PRESTON WESTENBURG Fashion Copy Editor KRISTIN VAN OGTROP Fashion Writer SALLY WADYKA 



Beauty and Health 


Beauty Writer WENDY SCHMID Health & Fitness Associate DEBORAH PIKE 

Beauty Assistant ANNE WEINTRAUB 





Bookings Editor MAGGIE BUCKLEY 


Features Assistant SHAX RIEGLER 


Senior Associate Art Directors SHEILA JACK, ERIC PRYOR 
Features Photo Editor ESIN ILI GOKNAR Assistant ALEXANDRA PENNER 
Art Assistant JOHN LIN Assistant to the Art Director ANDREA VAN BEUREN 


Editorial/Art Production Manager PAUL KRAMER Associate DONNA SOLLECITO 




Reader Information SHIRLEY CONNELL 

Assistant to the Managing Editor JENNIFER OWEN 

Assistants to the Editor in Chief MEREDITH ASPLUNDH. HELEN YTUARTE 

Paris Bureau ChieJ "SUSAN TRAIN Paris Editor FIONA DaRIN 


11 est Coast Editor LISA LOVE Associate CRYSTAL MOFFETT 

Consulting Editor SHELLEY WAHGER 





Editorial Business Manager LINDA RICE Associate Business Manager CHR\ST\ANEC. MACK 

Director of Public Relations and Communications PAUL WI LMOT Assistant K ATH RYN GRACE M EADOWS 

Editorial Advisor LEO LERMAN 


Editorial Director 


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s Advertising Director DIANE OSHIN 

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Fashion Director DONNA KORREN European Fashion Director RENEE MOSKOWITZ 

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VOGUE is published by The Conde Nast Publications Inc.. Conde Nast Building. 350 Madison Avenue, New' 

Chairman S.I. NEWHOUSE. JR. 

Deputy Chairman-Editorial ALEXANDER LIBERMAN 



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business, and production correspondence to Vogue Magazine. 350 Madison Avenue. New York. NY 10017. 


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Londoner Nick Knight, who photographed 
"Technovision" on page 568, is thrilled that 
"the new aesthetic coming to the fore is 
brash and glamorous. It's a shiny, aggressive, 
rock 'n' roll-influenced elegance," he says. 
"What's going on now is a hardening up, a 
return to attitude— that romantic period is 
behind us." In order to create a cyberchic 
atmosphere to accommodate the skiwear and 
sleek, shiny, club-worthy clothes cut from high- 
tech fabrics like rubber, polyurethane, and 
nylon, Knight used another bold futuristic 
fabric— red vinyl— as a backdrop. He has just 
put the finishing touches on a project that is 
guaranteed to have a lasting impact: 
Plantpower, an exhibition at London's Natural 
History Museum about the relationship between 
plants and humans, will be on display for the 
next 20 years. "By the time it comes down, my 
baby daughter will be 211" Knight's photographs 
appear regularly in British Vogue, and he has 
done catalog work for both Jil Sander and Yohji 
Yamamoto. His first book, Mcknight, a fifteen- 
year retrospective of his work, was recently 
published by Schirmer/Mosel. 



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julia reed 

Vogue senior writer Julia Reed recounts her surreal experience in 
troubled republic of Cuba on page 536. "I had wanted to go there I 
years. It's always seemed like this exotic, romantic place," says Re 
"But nothing prepares you for the real thing. Imagine being in a pi; 
crash and then trying to tell somebody about it." (Reed was robbed! 
all her money and her passport the first day of her three-week trip. 
some ways it's a nightmare. There's no food, and everybody is folio 
you around— I was somebody from the government's project for the 
day— and nothing works. But the people are so amazing; they show 
enormous dignity and even panache in the face of serious persecui | 
and poverty." A former reporter for Newsweek and U.S. News & 
Report who has interviewed everyone from David Duke to Bill Cllr 
Reed is at work on a book about the South for Random House. 

luc sante 

Luc Sante, whose essay on the glamorization of violence appears 
on page 532, firmly believes that art merely mirrors the society 
that produces it. "It is not prescriptive. While I am worried by 
fourteen-year-olds with Uzis in the street and the growing death-by- 
gun toll in New York City, violence in movies and popular culture is 
inevitable in these circumstances. You can't even say it's good or 
bad." Sante has written about the subjects of violence and crime 
before: His most recent book, Evidence (Farrar, Strauss & Giroux), 
which he describes as "an extended meditation on the relationship 
between photography and death," is an examination of police 
scene-of-the-crime photographs taken between 1914 and 1918. He 
is also the author of Low Life: Lures and Snares of Old New York. 
Originally from Belgium, Sante grew up transatlantically and has 
lived in New York for the past 20 years. He was formerly a movie 
critic for a number of magazines, including Interview. These days, 
in addition to working on a new book, he is a contributor to The 
New York Review of Books and The New Republic. He lives in 
Brooklyn with his wife, writer Melissa Pierson. 


bruce weber 

Long an admirer of the paintings of Cy Twombly, Bruce Weber found 
his recent assignment to photograph the artist at home offered him| 
rare, revelatory glimpse of the man and his work. "It was a journey i 
just to Italy, but to a whole new understanding of Cy's work," says 
Weber. This is not to say, however, that in the days they spent toget j 
in Rome and the small Mediterranean town of Gaeta, Twombly 
volunteered any explanation of his sometimes inscrutable art. "Cy ' 
talk to you about spaghetti, or a chair, or boats, or beautiful streets I 
Rome, but not his art," Weber adds. "He doesn't like to talk about it| 
believes his art should speak for itself." Weber, a regular Vogue 
contributor, is currently preparing for an upcoming exhibition of his 
photographs of Newfoundland dogs at the Robert Miller Gallery in N I 
York; working on a book, Gentle Giants, in conjunction with the sho*| 
Bulfinch Press/Little, Brown and Company; and adding the final ton 
to his documentary on Robert Mitchum, to be released in the spring 


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JIL SANDER Avenue Montaigne, Paris. JIL SANDER, East Oak Street, Chicago 

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alking back 

letters from readers 

left to right. Two photographs from Ellen Von Unwerth's spa fantasy; a provocative Image of a stuffed swan, photographed by Helmut I 

Surreal spa 

Well, I have finally decided who I want to come 
back as in my next life . . . Julia Reed. First, she 
gets to follow Al Gore around the country ["The 
Gore Factor," October 1992]. Next, she's off for 
an interview with Barbra Streisand ["The Un- 
guarded Barbra," August 1993]. And then she gets 
to spend a week at a spa ["Diary of a Spa," pho- 
tographed by Ellen Von Unwerth, June]. From her 
in-depth interviews to her musings on our culture 
in general, Reed is one terrific, humorous, and en- 
gaging writer and a good reason to look past the 
fashion pages in VOGUE. 

Cathy Whitlock 
Memphis, TN 

Tennis in high heels? Exercise with my breasts 
hanging out of my top? Whose fantasy is Ellen 
Von Unwerth tapping into here? Certainly not 
mine. The average VOGUE reader is probably 
not cozying up to every male attendant within 
ten miles of the place. At least, not in my worst 

Roberta Keck 
Columbus, OH 

The spa diary sounded fabulous until I got to the 
menu our gals were enjoying. "Dolphin fillet"? 

Dear God, tell me I didn't see that in VOGUE. 
I'm an animal lover and a vegetarian. They must 
have been using the word dolphin to describe 
some other unfortunate animal. If not, Julia and 
McGee should be deeply ashamed. I would have 
been up, out of that spa, and into the doors of 
PETA in seconds. That would have burned 
some calories. 

Karen McCoy 
Covington, GA 

Editor's note: The dolphin mentioned in the arti- 
c/e is a fish commonly referred to as mahimahi. 
Dolphin the fish (mahimahi) and dolphin the mam- 
mal (i.e., Flipper) are in no way related. 

Role revisal 

Whoever said that a smart, well-educated woman 
can't also be attractive ["Revenge of the 
Nerdettes," by Candace Bushnell. People Are Talk- 
ing About, June]? Perhaps the "recent spate of 
marriages between high-profile men and their 
brainy female counterparts" is due to the fact that 
those men are secure enough about themselves 
to genuinely appreciate their spouses as peers 
who are their intellectual equals. It's human na- 
ture to gravitate toward companions with whom 

we have the most in common; why should it be 
any different in marriage? Increasingly, girls and 
women have access to educational opportunities 
in math and science, allowing them high-profile 
professions of their own. Such professions are of 
importance not merely "to fall back on when [their 
husbands are] accosted by the press," but pri- 
marily for the satisfaction that work brings and 
the contribution it makes to the world. 

M. Burch Tracy Ford 

Head of Miss Porter's School 

Farmlngton, CT 

Carolyne Roehm— a Trophy Wife? Marie-Josee 
Drouin— a Nerdette? Both are examples of smart, 
powerful, sophisticated, and elegant career 
women. To insinuate that Carolyne Roehm is a 
"trophy wife" is an insult. To categorize Drouin as 
a nerdette is atrocious. We are in an era in which 
we are attempting to give our young women self- 
confidence in their abilities, talents, and intelli- 
gence; in one paragraph your magazine denigrates 
both women, minimizes their accomplishments, 
and places the focus back on their looks 

Sarah Law 
Pittsburgh, PA 

Photo fetish 

I was completely stunned and appalled by "The 
Newton School" [by Jody Shields, Vogue's View, 
June]. The photographs by Helmut Newton and 
others that you presented as acceptable were 
some of the most degrading, violent, misogynistic 
"fashion" photographs I have ever seen! A 
woman crouched on a bed with a saddle on her 
back? A dog digging its teeth into a woman's 
arm? A woman in a bikini yanking another 
woman's hair? Not to mention that in "Long on 
Legs" [photographed by Helmut Newton, June] 
a woman is on a bed with a bird! I can't tell you 
how offended I am. 

Kristi Kelly 
Fort Worth, TX 

Congratulations on your well-written article "The 
Newton School." Photographers are actually go- 
ing back to putting some creativity into shoot- 
ing fashion. I know that many people will dis- 
approve of the sexual and violent themes, but 
I myself like the controversial shots. What peo- 
ple need to realize is that these seventies-esque 
photos are the fantasy part of fashion and not 
for everyday life. Other magazines have already 
derided this style, calling it ridiculous. I'm glad 
VOGUE sees the art in this style. I am looking 

forward to seeing more Newton-typ^ 
tographs in the future. 


Politically corrected 

I now tell people that Libertarians (includi^ 
are "in vogue"— or at least in the magazir 
that name, thanks to Candace Bushnell | 
thing You Ever Wanted to Know About Lit] 
ans," People Are Talking About, June]. But) 
to correct the list of what we are "foi( 
"against." The Libertarian party, as such, < 
Libertarian movement in general, are neit| 
nor against activities, institutions, and at 
such as cohabitation, smoking, governmed 
political correctness. What we're for is s\\ 
person's right to engage in any of the at 
cording to her/his choice. What we're ag< I 
anyone's attempt to forcibly keep someonj 
any peaceful activity. 

I'd also like to highlight an important p<| 
Jeffrey Steingarten ["Family Fare," Voguej 
June]. Apparently, mustard oil is classified! 
fit for human consumption in the United 5| 
so your food editor had to pose as a labora 
obtain the material. It should be more widely I 
among those who want to use articles not lk| 
by the Food and Drug Administration, likef 
drugs, or medical devices, that this is perfe 
gal. While it may be illegal for the purveyo 
traduce a particular item into interstate < 
intending such a use, the FDA acknowledg| 
deed proclaims) that it's legal for someone 
tain an article and then use it in a way otl 
the purveyor intends. The buyer is under r 
ation to be truthful, and the seller, havirj 
charged her/his obligation, is in the clear. 

Robert < 
New Yd 

Mixed messages 

How can any woman be "under control" [vol 
View, June] when she is wearing slimming dj 
to make herself appear thin, curvy, and big I 
ed? I believe these tormenting devices* 
women under control— under the control j 
men who fashion them. Giselle Benatar < 
devices were inspired by bodies of shapel] 
els like Niki Taylor and Nadja Auermann-tl 
that the average fivefoot-four, 135-pound *\ 
can never attain. It seems as though Benatl 
ebrates these devices rather than the indivl 
ty of her own body. I find her remark about l| 
Wolf especially appalling (". . . my brain was 


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into ereuiug. '/'his is not about a season: it s 

thou/ erervt/tiag I stand for. Iluddiug a irurdrobe. 

Ida \i ii<>- with nieces both old and ueir. I he 

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the clothes and 

let them 

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The confidence to be true to yourself That s trh\ 

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talking back 

operating like Naomi Wolf's— blood deprivation 
producing delusions of a vast fashion conspira- 
cy against women"). The conspiracy is further ex- 
emplified in "Diary of a Spa," where an anorex- 
ic-looking girl has a huge bowl of ice cream in 
front of her that she wants to eat but is reminded 
of what will happen if she does by the face of a 
large woman on the TV screen above her. Isn't 
this a message to womeQ that starvation is much 
healthier than being large? 

Lindsley E. Bowen 
Chapel Hill, NC 

In a magazine featuring intelligent articles on 
breast cancer and other topics pertinent and 
empowering to women, you also feature a va- 
pid, misogynistic spread on spas, where an 
anorexic-looking model appears to hate her body 
(as if there is enough skin to pinch between two 
fingers on her belly), is afraid of being "fat" and 
therefore unlovable, and whose only power ap- 
pears to be her ability to look sexy to men rigid- 
ly controlling her appearance. What are we to 
make of the images you present? The picture 
of the model bingeing on a salad bowl full of ice 
cream while glancing anxiously at the image of 
the heavier woman on the TV screen is unbe- 
lievably offensive. Are we supposed to hate or 
fear the woman on the screen because she 
doesn't look like your model? Are you advocat- 
ing that we emulate the behavior and appear- 
ance of your model? I find these images at best 
disheartening and at worst sick and insulting. 

Janet Hurt 
Seattle, WA 

Child support 

Children of broken homes must have been left 
reeling after reading Karen Essex's article "Rein- 
venting Divorce" [Up Front, June]. Being one 
such child (now nineteen years old), I felt a per- 
sonal chord struck in me by Essex's thoughts. 
My parents divorced when I was merely five 
months old, but the trials and tribulations of their 
breakup were far from over for my sister and 
me. When my mother remarried and relocated 
transcontinentally, we went with her (I was eight, 
my sister ten). My relationship with my father 
was crammed into telephone wires once a week 
and visits three times a year-hardly a basis on 
which to foster a close relationship. 

Although I don't know that my ties to my fa- 
ther would be any tighter without geographical 
distance, I could not agree more with Essex's 
statement that "fatherhood as [her husband, 
Keith] had practiced it could not be phoned in." 
Moreover, I want to applaud Essex's realization 
that one of the worst crimes committed by par- 
ents is "sabotaging" each other. Growing up in 
constant defense of one parent to the other has 
left me permanently confused as to whose camp 
I really belong in. Although Essex's decision may 
not be the correct one for every single parent, 
and although single mother- and fatherhood are 
never simple, it is inspiring to know that there 
are people handling a difficult situation to the 
advantage of all those involved, with a maturi- 
ty and spirit of compromise that are rare. Many 
people do not even have one place where they 
feel completely loved and welcome. Essex's 
daughter, Olivia, has two, and for that she should 
feel extremely fortunate. 

Hillary Margolls 
Los Altos, CA 

Karen Essex is to be applauded for the value 
she places on motherhood and her recognition 


of the very important role both parents | 
their child's life. Children are at homel 
a short time that it is not too much to i 
well-being a priority. At no other time \ 
need their parents' love and guidance s 
Essex (with the help of her supportive < 
band) has creatively sought out her can 
some personal space without sacrK 
daughter in the process. Olivia is a It 
girl to have such loving parents. I hope, I 
er, that Essex will know when to give her | 
his fiancee some room of their own: 1 
to be their own family too. I can't ima 
husband's ex-wife going to France v. 

Paula | 

Julia's jury 

Loved Charles Gandee's story on Julia I 
["Julia Up Close," June], and Herb Ritts's | 
are beautiful and exciting. Roberts is a | 
person. The story shows us how very corl 
intelligent, and down-to-earth Roberts is[ 
are no pretensions about her, as then 
so many of today's wannabes. I have beel 
voted fan since Mystic Pizza and especi| 
joyed Pretty Woman. I wish they would i 
Pretty Woman II. 

Mrs. S. 

Most of what one reads in VOGUE is lucid si 
gressive, and usually fun, too. But when ai 
ficial writer (Charles Gandee) meets a yamrf 
ill-bred actress (Julia Roberts), the limp, pi 
results have no place in VOGUE. Who 
mess? Even the Herb Ritts photos go i 
Michael . 

Miscast Moss 

OK, selling Kate Moss as a waif had a I 
logic to it, but dressing her up in the "J 
ticated, womanly look" ["Red Hot, 
tographed by Juergen Teller, June]? LudJ 
The photographs of her remind me o , 
looked playing dress-up when I was si I 
old. I enjoy VOGUE for its provocative of 
but draping Kate Moss in grown-up cloj 
obviously a bad casting decision. If youl 
sage is maturity and a "new look," thinkj 
featuring models who can do justice f 
clothing. Kate Moss is a doll. 

Betsy Woude 

Homing in 

Thanks for letting Charles Gandee visij 
and David Bowie at their Los Angeles apal 
["A Perfect Match," portrait by Irving PenJ 
tographed by Oberto Gili, June]. Their lovj 
is refreshing, and their apartment is clasl 
unique. Iman and David Bowie's photogrl 
black and white is gorgeous. Penn porj 
them beautifully. 

Los Ange 

VOGUE welcomes letters from its reade 
dress all correspondence to Letters, Vj 
Magazine, 350 Madison Avenue. Newl 
NY 10017. VOGUE also accepts lettcj 
the Internet. Address electronic rrl 
Vbguemail@aol.roni. Please include! 
time telephone number. Letters may bef 
for length or clarity. 

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COPY rilGS Some designers consider imitation the highest 
form of flattery. Others think ifs a rip-off. Since v copying is such big business— and 
fashion's quickest messenger— can designers really tell each other when to knock it 

Katherine Betts looks for answers 

Instant replay: 
Gianni Versace's 
vinyl trench coat 
from his fall 
collection, far left 
and a similar 
version from 

H A 

Trickle up: Soon M^ 

after models m* 


started wearing M 

* I 

slips as dresses, m 


right, designers [> 


picked up on the k 

trend and showed y 



slip dresses like T i 

^tl u 


Rifat Ozbek's, 





There's a nondescript girl crossing a Manhattan street in I 
sunglasses with two gold interlocking C's. The sungla^l 
copies, but nobody notices that. They notice Chanel's traij 
C's and probably think. "Wow, Chanel." just as they would i! 
opened a magazine or a newspaper or turned on the TV and saw a I 
bag, suit, pair of shoes, or sunglasses, or lipstick. This nondescrir 
spreading the word; she's spreading the idea of Chanel out onto t 

Coco herself would have been pleased; she considered copy 
highest form of flattery. Along with Elsa Schiaparelli, Chanel I 
coin what has become Seventh Avenue's loudest battle cry: Yoi| 
your clothes are as cold as ice when they're not copk 
Chanel, Inc.. is less pleased— the company currently 
an average of $5.5 million a year trying to curtail tht 
terfeiting of its trademark. Like Polo, Louis Vuitton, j 
Lacoste, Christian Dior. Gucci. Timberland, and co^ 
other fashion brands, Chanel confiscates fakes fror 
York's Canal Street to Hong Kong's Temple Street e\ 
Counterfeiting a brand name is a crime, but copying 
lectual property" is not as clear-cut in the fashion business— althc 
just as prevalent. In fact every business that manufactures a prodi 
a recognizable signature struggles with the problem of copying: Mi! 
sampling (remember Vanilla Ice?); the computer industry is plag 
software pirates; and car manufacturers copy entire vehicles (the « 
favorite is the Cherokee Jeep). Even the breakfast-foods industry 
(Kellogg's is fighting a copyright problem in China against a produ 
Kongalu Corn Strips, which is sold in a box resembling Corn FlalJ 

While songs, computer programs, cars, and cereal can be proti 
copyright in America, clothing is considered mostly functional, and] 
fore is in the public domain. For example, if you wanted to make , 
dress— regardless of whether it's inspired by Yves Saint Laurent,! 
Von Furstenberg. or Marc Jacobs— the state allows you to do so. | 
France, original creations carry "paternal" rights, which means < 
ers can sue each other for poaching patterns. And they do. In 1 985 J.I 
Esterel sued Saint Laurent for S 1 1 .000 for copying a toreador j<J 
which has since become one of Christian Lacroix's signatures. Ll 
himself has settled a copyright infringement case he filed against 1 1 
over a belt buckle, and Jean Paul Gaultier is in the process of si 
Parisian T-shirt manufacturer for reproducing his advertising ima| 

The tricky question of intellectual property rights in fashion < 
sharp focus last May when Saint Laurent won the lawsuit he filed ill 
against Ralph Lauren for copying a long, sleeveless tuxedo dresl 
the designer's fall 1992 couture collection. The case has rocked [ 
ternational fashion world— and potent 
a precedent— because it's the first time tr| 
world-renowned designer with a stat 
has sued another for copyright infnngi. 
"The last thing I want to do is loci 
someone else," defends Lauren, whosd 
ly defined international image is parai| 
to his business. "I've been doing my 

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We support artistic freedom and creative license 
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A couture copy, below, as 
advertised by Ohrbach's in 1958. 
right: Chanel's warning to "Mis- 
users" of the trademarked name. 

style for a long time now. People 
know my clothes. I could walk 
through a store and see a hundred 
things I started and I know where and when 
I did them. Then there are the classics— tuxe- 
dos, T-shirts, button-down shirts— we don't 
know where they came from." 

The suit raises questions about the dif- 
ference between a signature and an idea 
when it comes to intellectual property rights. 
Does Saint Laurent own the tuxedo dress? 
Or does he own the idea of the tuxedo dress? 
Women who know that Saint Laurent was 
the first designer to dress a woman in men's- 
style clothes will always recognize his influ- 
ence in every tuxedo they spot on a woman. 
Those who don't know, don't care. But they 
would never entertain the thought of wear- 
ing a tuxedo or a men's-style suit if the orig- 
inal idea hadn't been copied. 

"The average American woman couldn't 
care less about the origin of the idea, as long 
as she can buy it at the right price," explains 
retail analyst Alan Millstein. Indeed, only an educated customer real- 
ly cares about whether a piece of clothing is an original or not. They 
want the real thing because they appreciate the quality and the cut, and 
they're prepared to pay for both. These customers recognize brand 
names, but they also recognize the hidden signatures: Chanel jackets 
have a tiny gold chain around the hem, Saint Laurent's have buttons 
that couldn't be pulled off with a wrench, and Giorgio Armani's are 
cut on the most discreet curve. 

But if educated customers were the only women shopping, then 
fashion phenomena like last season's slip dress— which traveled 
through the system from the runway to the pages of fashion magazines 
to the stores to the streets and back onto runways this season— would 
never have happened. The same can be said about the new knee-length 
dress, which has already been knocked off by companies like A.B.S. 
and Parallel by Katayone Adeli for stores like Lord & Taylor and 
Bloomingdale's. Helmut Lang and Calvin Klein may have come up 
with the original idea, but they won't be the ones to deliver the dress 
to fashion's hinterlands. Only the copy is going to play in Peoria. 

Ever since American buyers started attending the Paris collections 
after the war, copying has been an unavoidable— if not integral— part 
of fashion. Back then, buyers from discounters like Ohrbach's and ex- 
clusive salons like Chez Ninon would sail to Paris on the Ile-de-France 
(nicknamed the Seventh A venue Special) to purchase original couture 
models at a prearranged price. Once the garment was shipped to New 
York and "bonded" by customs so it wasn't resold, buyers would match 
it with the appropriate manufacturer and reproduce it line for line in 
the exact same fabric. Sometimes they would even advertise the copies 
under the original couture house name (except for Dior, whose label 
everyone knew as Monsieur X). And often couture models were im- 
ported with the taste of specific American clients-like Babe Paley 
(Ohrbach's) and Jackie Kennedy (Chez Ninon)— in mind. 

"If Balenciaga did purple, we would do purple. That's how the trends 
from Paris crossed the Atlantic." remembers Mildred Finger Haines, a 
dress buyer for Ohrbach's in the fifties. And that's how the designer's names 
were dispatched around the globe. It was, after all, the French couturiers 
who encouraged American stores to copy their designs in an effort to gen- 
erate publicity on these shores after the war. Coco Chanel even acknowl- 
edged the impact that worldwide sales of Chanel knockoffs by the Lon- 
don-based copyist Jeffrey Wallis had on her perfume and clothing sales by 
offering him twelve garments a season to copy rather than the usual two. 

A Note CX rtorma&on And Entreaty 

To Fashon Edters, Advertisers. Copywrters 

And Oher Wel-rtertoned Ms-users 01 

Our CHANEL Name 


Minkiv'a «"-•« i»»ii •« »' 
arc trmm a mn artttmor » WW 




■ Mtfwo«vrmgi 

.rim t • ojx tm xxrttxOi *m\ c*ag« m r o v« 

1 fcyo»" , 

1 TtO a aia&OTtrtOwad ■ PUEASE DOWT Otf 
* Mn oam* amm twn tt» m 

With the rise of mass pre 
and street fashion in the sixtii 
turiers found it increasingly < 
lay claim to ideas. Balenciaga c 
fend the chemise and the ( 

as his own innovations, but it 
difficult to identify the invent 
ture knickers, leggings, or I 
Ironically, Saint Laurent ' 
who first reversed fashion's 
down process when he elevated street trends to couture runv 
look of St.-Germain-des-Pres's beat generation for Dior in H 
York's army-surplus shops in 1966, and Paris's student prot 
1 968. And Saint Laurent was hardly immune to "inspiration' 1 
it was commonly thought that his strictly tailored pantsuits we 
enced by the slim, straight cut of English designers Foale and' 
Thanks to Saint Laurent, street trends are now fair game i 
ways in Paris, New York, and Milan. As a result designers h 
pete with each other and with the knockoff manufacturers for t 
emerging from the street, nightclubs, or flea markets. Who'i 
for example, that a knockoff manufacturer didn't produce a, 
dress before Helmut Lang, Marc Jacobs, or Liza Bruce did last . 
It's increasingly difficult to know, because technology has st« 
the pace at which manufacturers can produce copies— and i 
preempt designers (manufacturers can make a sample over 
have it in stores in ten days, while designers have to wait apprc 
three months before their creations hit the racks). Technology! 
accelerated the customer's demand for fashion news. Becau 
immediacy of television, newspapers, and videos, they see I 
trends and want to buy the clothes immediately. 

Sometimes all it takes is a celebrity appearance in a desig 
to set the knockoff process in motion. Last spring when Eng 
tress Elizabeth Hurley wore a sexy, safety-pinned Versace i 
movie premiere in London (and revealed more than a little bit i i 
age), the dress turned up on the front page of every English l 
next day. And several days later exact copies of the dress l 
the racks of every high-street store in town for a fraction oft 
of the original. So who's to blame? Elizabeth Hurley? Or the v 
who couldn't afford the real thing and bought the copies? 

Similar cases of copying corsets (surely property of Madame dl 
padour's corsetmaker), leather motorcycle jackets (either Mario J 
do's or Hell's Angels'), and even slip dresses (the name alone rev] 
origins, not to mention the fact that models were wearing real \ 
dresses long before they hit runways) have raised questions ab 
can take credit for ideas that have become part of fashion's vc 
Gianni Versace, for example, introduced technofabrics like vinyl I 
and they've already been knocked off by companies like A.B.S. (;[ 
vertised by stores like Macy's). But where would Versace be i |l 
Quant and Ossie Clark hadn't used synthetics in the 1 960s? 

"If designers invent something that's their very own idea I 
didn't get it out of a book, magazines, or photos, then I can und 
how they would be upset by copies," points out one Seventh /] 
veteran. "But I haven't seen that to be the case." 

If Saint Laurent has started a trend with his lawsuit, and if <| 
ers do start suing each other for copyright infringement, then 1 
bringing the whole fashion business to a screeching halt. Whc 
own the T-shirt? Would Levi's be the only company making je 
miniskirt would certainly be difficult to trademark-althoug 
Quant would have to be the owner. Imagine that Quant's mill 
been protected by a trademark. Would women have known Courl 
stiff, space-age A-line skirts? Would women be wearing A-line si I 
fall? "That is ridiculous," quips Lagerfeld. "Tuxedos, T-shirts, al 
classics are like words in a dictionary. Anybody can use them.' 





Calvin Klein 

eau de toi lette 
for a man or a woman 



A couture copy, below, as 
advertised by Ohrbach's in 1958. 
right: Chanel's warning to "Mis- 
users'' of the trademarked name. 

style for a long time now. People 
know my clothes. I could walk 
through a store and see a hundred 
things I started and I know where and when 
I did them. Then there are the classics— tuxe- 
dos, T-shirts, button-down shirts— we don't 
know where they came from." 

The suit raises questions about the dif- 
ference between a signature and an idea 
when it comes to intellectual property rights. 
Does Saint Laurent own the tuxedo dress? 
Or does he own the idea of the tuxedo dress? 
Women who know that Saint Laurent was 
the first designer to dress a woman in men's- 
style clothes will always recognize his influ- 
ence in every tuxedo they spot on a woman. 
Those who don't know, don't care. But they 
would never entertain the thought of wear- 
ing a tuxedo or a men's-style suit if the orig- 
inal idea hadn't been copied. 

"The average American woman couldn't 
care less about the origin of the idea, as long 
as she can buy it at the right price," explains 
retail analyst Alan Millstein. Indeed, only an educated customer real- 
ly cares about whether a piece of clothing is an original or not. They 
want the real thing because they appreciate the quality and the cut, and 
they're prepared to pay for both. These customers recognize brand 
names, but they also recognize the hidden signatures: Chanel jackets 
have a tiny gold chain around the hem, Saint Laurent's have buttons 
that couldn't be pulled off with a wrench, and Giorgio Armani's are 
cut on the most discreet curve. 

But if educated customers were the only women shopping, then 
fashion phenomena like last season's slip dress— which traveled 
through the system from the runway to the pages of fashion magazines 
to the stores to the streets and back onto runways this season— would 
never have happened. The same can be said about the new knee-length 
dress, which has already been knocked off by companies like A.B.S. 
and Parallel by Katayone Adeli for stores like Lord & Taylor and 
Bloomingdale's. Helmut Lang and Calvin Klein may have come up 
with the original idea, but they won't be the ones to deliver the dress 
to fashion's hinterlands. Only the copy is going to play in Peoria. 

Ever since American buyers started attending the Paris collections 
after the war, copying has been an unavoidable— if not integral— part 
of fashion. Back then, buyers from discounters like Ohrbach's and ex- 
clusive salons like Chez Ninon would sail to Paris on the Ile-de-Frcmce 
(nicknamed the Seventh Avenue Special) to purchase original couture 
models at a prearranged price. Once the garment was shipped to New 
York and "bonded" by customs so it wasn't resold, buyers would match 
it with the appropriate manufacturer and reproduce it line for line in 
the exact same fabric. Sometimes they would even advertise the copies 
under the original couture house name (except for Dior, whose label 
everyone knew as Monsieur X). And often couture models were im- 
ported with the taste of specific American clients— like Babe